A 

DICTIONARY 

OF 

ROMAN AND GREEK ANTIQUITIES 

WITH NEARLY 2000 ENGRAVINGS ON WOOD 

FROM ANCIENT ORIGINALS 

ILLUSTRATIVE OF THE 

INDUSTRIAL ARTS AND SOCIAL LIFE OF THE GREEKS AND ROMANS 



ANTHONY RICH, B. A 

H 

HONORARY FELLOW OF GONVILLE AND CAIUS COLLEGE, CAMBRIDGI 



REVISED AND IMPROVED, 1884. 



Segnius irritant animos demissa per aurem 
Quam quse sunt oculis subjecta fidelibus 

HOK. A. P. 



NE W IMPRESSION 

LONGMANS, GREEN, AND CO. 
39 PATERNOSTER ROW, LONDON 
NEW YORK AND BOMBAY 
1901 



ited by BALLANTYNE, HANSON &• Co. 
At the Ballantyne Press 




PREFACE 

TO THE THIRD EDITION^ 



o 

With the present impression this book has attained the permanent 
form and substance that it will ever receive from myself ; and, as 
the title states that it has been revised and improved, a few 
words may not be out of place to explain exactly what is meant by 
that announcement, lest it should be understood as a mere conven- 
tional formula, or as implying either more or less than is intended. 

Large additions or material alterations are not to be expected. 
But the pages have been submitted to a careful revision throughout ; 
and such changes or improvements introduced, as a fresh perusal of 
them after many years might suggest. If anything seemed redun- 
dant, it has been retrenched ; if deficient, more fully set out ; if 
matters, upon which the opinions of scholars differ, appeared to have 
been affirmed somewhat too positively, such affirmations have been 
modified ; if with too much hesitation, greater decision has been 
expressed ; and, in general, if the language in which any explanation 
or description was conveyed seemed involved or confused, it has 
been studiously corrected in order to render it clear, precise, and free 
from ambiguity. These alterations, small in themselves individually, 
but not unimportant in the aggregate, have reference to the manner 
more than the matter of the work ; .but they serve to remove imper- 
fections and give unity to the whole, like the finishing touches put by 



IV 



PREFACE TO THIRD EDITION. 



artists into their pictures, which improve the general effect, though 
they do not alter any of the material parts. 

The Greek synonyms and the Index to them have received some 
considerable additions. It was not at first intended to insert any 
Greek terms at all ; but the advisability, if not the necessity, of doing 
so, became apparent as the work progressed, and they were introduced 
amongst the articles as memory served, mostly while the pages were 
going through the press. 

Some few additional illustrations have been introduced from ori- 
ginals discovered in excavations made since the previous publication? 
or which were at that time unknown to me, or had escaped my 
memory. Some few articles have likewise been added ; and others 
have had more matter introduced into them, if interesting in itself ; 
but always with extreme sobriety, so as not to destroy the original 
design, which was to produce a large book in a small compass, 
entkled to take its rank as an authority amongst scholars, and be a 
safe guide to the student, whilst it would serve no less as a manual 
of ready reference for artists, archaeologists, and all who interest them- 
selves about the history and manners of bygone ages ; and especially 
of those two great and gifted families of the human race to whom 
our modern civilization is so largely indebted. 

How far that object has been accomplished is not for me to decide. 
But as the volume has been translated into the three principal lan- 
guages of Europe, — French, Italian, and German, — without any con- 
cert with myself, and therefore presumably because it supplied a want 
previously experienced, it may be permitted me to indulge a belief 
that the time and trouble expended upon it has not been altogether 
bestowed in vain. 

A. R. 



Heene, January 1873 



DICTIONARY 

OF 

ROMAN AND GREEK ANTIQUITIES. 



ABAC'TJLUS (apaiciffKos). A small 
tile or die of glass, or a composition 
in imitation of stone, stained of various 
colours, and used for inlaying pat- 
terns in mosaic pavements. (Plin. H.N. 
xxxvi. 67. Moschustf/. Athen. v. 41.) 




The illustration represents part of the 
ancient mosaic pavement in the church 
of S. Croce in Gerusalemme, at Rome. 

AB'ACUS (a/3a£). In its general 
signification, a rectangular slab of 
stone, marble, earthenware, lVx. ; 
whence it is applied in a more special 
sense to various other objects, which 
possess the characteristic form of a 
level tablet. 

1. A tablet employed in making 
arithmetical calculations, on the plan 




of reckoning by decads ; similar to 
that still in use amongst the Chinese 
(Davis. China, chap. 19.), and com- 
monly called the Pvthagorean multi- 



plication table. The illustration re- 
presents an original first published 
byVelser. {Histor. Augustan.) It is 
divided into compartments by parallel 
channels cut through it. into each of 
which is inserted a certain number 
of pins with a button at each end, in 
order that they might be moved up 
and down the channels without falling 
out. The numbers represented by 
the pins in each channel are marked 
on it ; the longer ones at the bottom 
are for units ; the shorter, at the top. 
for decimals. 

A tray covered with sand was like- 
wise employed for the same purpose, 
the lines being drawn out in a similar 
maimer in the sand, and pebbles used, 
instead of pins, for making the calcu- 
lations (Pers. Sat. i. 131.); this was 
still designated by the same name, as 
was also the tray of the same kind 
which geometricians used for describ- 
ing their diagrams. Apul. ApoL p. 
429. Varior. 

2. A play-board, divided in like 
manner into com- 
partments, for one 
of the ancient 
games of chance 
and skill ; probably 
the one nearest al- 
lied to our " back- 
gammon/'the/^^/z/i - 
duodecim scripto- 
rum, or the game 
of the twelve lines. 
Caryst. ap. Athen. 
x. 46. 

The illustration is copied from an 
A 







X- 




=6 





2 



ABACUS, 



original of marble belonging to the 
Christian era, which was excavated in 
a vineyard at Rome. It will be ob- 
served that it is divided, like our 
backgammon boards, into four sepa- 
rate tables by the cross lines at each 
side ; and each side into twelve com- 
partments by the same number of lines, 
the duodecim scripta. The inequality 
of the lines upon which the pieces 
moved, and of the intervals between 
them, arose from the necessity of leav- 
ing room for a Greek inscription, 
which, in the original, runs down the 
centre, but has been omitted for con- 
venience in the woodcut ; the mean- 
ing of it, according to the translation 
of Salmasius, is as follows : — " In 
playing thus at the throws of the dice, 
Jesus Christ gives victory and assist- 
ance to those who write his name 
and play with dice. " 

That the board here figured was 
actually used in a mixed game of 
chance and skill, such as our back- 
gammon, is proved by the lines upon 
its surface, forming the points upon 
which the counters moved, and the 
inscription which implies that the 
moves were first determined by a 
chance throw of the dice ; and that 
the name abacus was most appro- 
priately given to the board used at 
such a game, is testified by the nature 
of its surface divided into parallel 
lines, so closely resembling in appear- 
ance the counting-board, as well as 
the circumstance that it was, in fact, 
a table upon which numbers were 
reckoned, — the numbers cast up on 
the dice being added together to de- 
cide the move. See the Greek Epi- 
gram, quoted by Dr Hyde, and 
Christie {Ancient Greek Games, p. 42.), 
in which a game of this description 
is described in detail. 

3. Also the play-board used in 
another ancient game of skill, — the 
Indus latrunculorum, — having a closer 
resemblance to our chess and draught 
" boards. (Macrob. Sat. i. 5.) Although 
games of this description, were of very 
great antiquity, and are represented 



both by the Egyptian and Greek ar- 
tists, yet the precise manner in which 
the surface of the board was divided 
has not been ascertained, because it 
is always expressed in profile, which 
only shows the men, but not the face 
of the board. See Latrunculi, Ta- 
bula Latruncularia. 

4. A "side-board" for setting out 
the plate, drinking vessels, and table 
utensils in the triclinium, or dining- 
room. (Cic. Verr.iv. 16. Juv. iii. 204. 
Plin. H. N. xxxvii. 6. ) The illustra- 




tion, copied from a fictile lamp, shows 
one of these sideboards with the plate 
set out upon it. It consists of two 
slabs, the lower one supported upon 
two feet, and the upper by a bracket 
leg, which rests upon the one below. 
The simplest kinds were made of 
marble, the more costly of bronze ; 
and the surface was sometimes per- 
forated into holes, in order to receive 
such vessels as were made with sharp 
or narrow bottoms, and, consequently, 
not adapted to stand alone. This ap- 
pears the most natural interpretation of 
the multiplices cavernce (Sidon. Apoll. 
Carm, xvii. 7. 8.), for the term used to 
express the setting out of plate upon 
a side-board is exponere (Pet. Sat. 
Ixxiii. 5.), which would be ill applied, 
if, according to the common accepta- 
tion, these cavernce were partitions, 
like the pigeon-holes in a cabinet, 
in which the plate would rather be 
hidden than displayed. 

5. A slab of marble used for coat- 
ing the walls of a room. (Plin. H. N. 
xxxv. I.) Sometimes the whole sur- 



ABACUS. 

face of the wall was covered with these 
slabs, as in the example, which repre- 
sents an apartment in Dido's palace 
from the Vatican Virgil ; sometimes 




coffers or pannels only were inserted 
as an ornament ; and as extravagance 
is commonly accompanied by bad taste, 
the marble itself was occasionally 
painted upon (Plin. H. JV. xxxiii. 56.) ; 
and sometimes the coating of stucco 
or hard white cement, which was 
capable of receiving a very high 
polish, was sawed from the wall of an 
old house, and inserted as an abacus 
instead of marble. See Vitruv. vii. 3. 
10., a passage which Becker, in his 
Gallus, p. 23. n. II. Transl., is clearly 
mistaken in referring to sideboards. 

6. A square tablet which the early 
builders placed upon the head of their 
wooden columns in order to provide 
a broad flat surface for the superin- 
cumbent beam which supported the 
roof, to lie upon, and thus constituted 
the first step in the formation of an 
architectural capital. Vitruv. iv. I. II. 

It is credible that this simple tablet 
remained for a long period as the only 
capital ; and in the Doric, the oldest 
and simplest of the Greek orders, it 
never lost its original character, but 
still continued with only the addition 
of one other and smaller member (the 
echinus) as the most prominent and 
imposing portion of the capital. With 
the invention of the richer orders the 
size, form, and character of the abacus 
were materially altered, though the 
name was still retained, and applied 
to the crowning member of any 
capital. These varieties are fully 



A BOLL A. 3 

explained and illustrated under the 
word Capitulum. 

The illustration represents one of 
the tombs sculptured in the rock at 




Beni-Hassan, which are supposed by 
Sir G. Wilkinson to be as old as 1740 
B.C. It is highly curious for the early 
traces it affords of that style of build- 
ing, which the labour, skill, and re- 
finement of the Greeks gradually 
improved and embellished until it 
eventuated in the most perfect of all 
structures, the Greek Doric temple. 
There is no base, nor plinth ; the 
columns are fluted ; the capital con- 
sists of a mere abacus ; a single beam 
or architrave forms the entablature, 
and supports a sort of sculptural cor- 
nice, intended to imitate a thatching 
of reeds ; and as there is no frieze 
{zophorus) between it and the archi- 
trave, we may infer that it is illustrative 
of a period when buildings were merely 
covered by an outer roof {tectum) 
without any soffit or ceiling (ccelum), 
for the beams which formed the 
ceiling or under roof were shown ex- 
ternally by the member subsequently 
termed a frieze. [Zophorus.] 

ABOLLA. A cloak or mantle made 
of cloth doubled (Serv. ad Virg. s£n. 
v. 421.), and fastened by a brooch 
under the neck or upon the top of the 
shoulder. It was originally worn by 
the military, as in the example from 
Trajan's column, and therefore was 
put on by the inhabitants of the city, 
instead of the toga, the costume of 
civilians, during periods of turbulence 



4 



ABS/S. 



ACATIUM. 




or foreign invasion (Varro, ap. Non. s. v. 
p. 538. Mercer) ; but subsequently it 
came to be used more 
commonly, and by all 
classes, as an article 
of the ordinary attire. 
(Juv. iv. 76. Suet. Cal. 
35.) It does not differ 
very materially from 
the sagum ; but was 
made of finer material, 
and somewhat smaller 
dimensions, whence 
Martial recommend* 
persons addicted to 
thieving not to wear an abolla, be- 
cause it was not large enough to 
conceal the stolen articles beneath 
it. Mart. Ep. viii. 48. 

2. Abolla major. The large wrap- 
ping blanket of the Greek philoso- 
phers, more especially 
of those who affected 
austerity in manners 
and dress, the Cynics 
(Mart. Ep. iv. 53.) and 
Stoics (Juv. Sat iii. 
115.), where the ex- 
pression /acinus ma- 
joris abolla', means a 
crime committed by 
one who is clothed in 
the garb of those sects ; 
the garment being put 
for the person who wears it, as we 
apply our phrase "the long robe" to 
members of the legal profession. The 
illustration represents Heraclitus from 
an engraved gem. 

ABSIS or APSTS. The semicir- 
cular termination of any rectangular 





chamber, forming what is commonly 
termed in English "an alcove." (Plin. 
Ep. ii. 17. 8.) A form of this kind 



was commonly employed in courts of 
justice {basilica) in order to make a 
convenient place for the judges' seats ; 
and sometimes in temples to form a 
recess for the statue of the deity to 
whom the edifice was consecrated ; as 
in the illustration, which shows the 
absis, as it now remains, of the temple 
of Rome and Venus, built by the 
Emperor Hadrian. Compare also the 
illustration to Adytum, where the 
ground-plan of a similar member is 
seen. 

ACAPNA, sc. Ligna (aKairva, poet. 
davd, K&yKava). A word adopted from 
the Greek language, and employed to 
designate fire- wood which had under- 
gone a preparation to prevent it from 
smoking when placed upon the fire. 
Smokeless wood of this description 
was prepared in three different ways : 
1st. by peeling off the bark, then 
soaking it a long time in water, and 
finally suffering it to dry thoroughly 
before it was used. (Theophrast. Hist. 
Plant, xv. 10.) The effect of this 
process is now well known, as it has 
been found that wood conveyed by 
water in floats burns more briskly 
and throws out less smoke than that 
which has been transported by land 
carriage merely : 2d. by soaking it in 
oil, or oil-lees, or by pouring oil over 
it (Cato, R. R. 130. Plin. H. N. xv. 
8.) : 3d. by hardening and scorching 
it over the fire until it lost the greater 
part of its moisture, without being 
entirely reduced to charcoal ; - this last 
was also designated by a special name, 
Cocta or CoctUia. Mart. Ep. xiii. 15. 

2. A caption met. Honey taken from 
the hive without smoking the bees, 
which was considered the best kind of 
honey. Columell. vi. 33. 2. Plin. H. 
xi. 15. 

ACAT'IUM (dKOLTLov). A small, 
but fast-sailing vessel, belonging to 
the class termed Qctuarke, viz., which 
were worked with bars as well as 
sails. It was more especially used by 
the Greek pirates (Thucyd. iv. 67.), 
was furnished with an armed beak 
{rostrum\, and had. the stern rounded 



ACATIUM, 



A CC ENS US, 



5 



and bent inwards {inflexa, Plin. Y/. N. 
ix. 49.), a very common form in the 
marine of the ancients, as will be 
shown by many illustrations in the 
course of these pages. (See ACTU- 
AlilUSj Aphractus.) It is therefore 
highly probable that the distinctive 
characteristics of these vessels con- 
sisted more in the style of their rigging 
(see Xo. 2.) than in the form of the 
hull. • 

2. The same word is also used in 
connection with the rigging of a ves- 
sel, being sometimes applied to desig- 
nate a sail, and sometimes a mast ; 
but which of the sails or which of 
the masts is nowise apparent. Xeno- 
phon Helleti. (vi. 2. 27.) speaks of the 
acatia as sails, but contradistinct to 
the larger sails ; Hesychius and Isi- 
doras {Orlg. xix. 3. 3.) on the contrary 
assert that the acatium was the largest 
sail on the ship, and attached to the 
main mast ; while Julius Pollux (i. 
91.) and Hesychius in another pas- 
sage affirm that it was not a sail at all, 
but a mast, and that one the largest or 
main mast. Amidst all this apparent 
contradiction only one thing is certain, 
that the acatium was especially in- 
vented for fast sailing with light winds. 
If a conjecture might be hazarded all 
the difficulty would be got over by 
assuming that it meant both the mast 
and the sail belonging to it ; and that 
it was a mast rigged after the fashion 
of the pirate vessels, to which the 
name properly belonged ; a taller and 
lighter mast for instance than those 
usually employed, fitted also with 
smaller sails, probably with a top-sail 
over the main sail, which would be 
handier for working and better for 
sailing in fair weather than the ordi- 
nary heavy mast, with its cumbrous 
yard. Thus Iphicrates, in the passage 
of Xenophon already referred to, be- 
fore commencing his voyage, trimmed 
his vessels so as to be ready for any 
emergency. He left behind him the 
ordinary large set of sails (rd /jeyaXa 
iaria), and consequently the heavy 
masts to which they belonged, and 



fitted the ships with masts and sails 
(aKarioii;), such as the pirates used in 
their vessels, for the rapidity they af- 
forded in sailing, and the fewer hands 
they required for working, in case he 
should be forced to an engagement. 

ACCEXSUS. A civil officer at- 
tached to the service of several Ro- 
man magistrates, the consuls, prae- 
tors, and governors of provinces. 
(Varro, L. L. vii. 58. Liv. iii. 33. ) 
He was generally the freedman of 
the person whom he served (Cic. 
ad Q. Fr. i. 1. 4.), and it was his duty 
to summon the people to the assem- 
blies, to call the parties engaged in 
law-suits into court, and preserve 
order in it (Cic. /. c. 7.), and to pro- 
claim the hour at sunrise, mid-day, 
and sunset. Plin. H. N. vii. 60. 

2. The military Accensi were 
originally a body of supernumeraries 
enlisted for the purpose of supplying 
any vacancies which might occur in 
the legions by death or otherwise 
(Festus, s. -j. Adcensi), but subse- 
quently they were formed into a sepa- 
rate corps, belonging to the levis arma- 
htra, or light-armed troops, amongst 
whom they occupied the lowest rank 
of all. They were selected from 
the fifth class of the Servian census 
(Liv. i. 43. ), had no body armour 
nor weapons of attack, properly so 
called, but fought, as they best could, 
with nothing but their fists and stones 




( pugnis et lapidibusdepngnabant, Yarro 
ap. X T on. s. Decuriones, p. 520. . Mer- 
cer), precisely as shown in the annexed 



ACC1NCTUS. ACCUBO. 



figure, which is copied from the | 
Column of Trajan. On the battle-field 
they were posted in the rear of the 
whole army, being drawn up in the 
last line of all, behind the Rorarii, 
from whence they could be advanced 
to assist in desultory attacks as occa- 
sion required. Liv. via, 8. and 10. 

ACCINCTUS. In a general sense, 
girded, equipped, or provided with 
anything. But the word is more 
especially applied to the military, and 
then implies that the soldier has his 
sword girded on, or, in other words, 
that he is accoutred as a soldier on 
duty ought to be ; like the right-hand 
figure in the illustration, from Tra- 




jan's Column. Hence, miles non ac- 
ductus, means a soldier without his 
sword, or, as we should say, without 
his " sidcrarnis" which, under a lax 
system of discipline, the men took off 
when employed upon field works, for- 
tifications, &c, and piled with then- 
shields and helmets on the ground 
beside them, like the left-hand figure 
in the illustration, also from " the 
Column of Trajan. Under a strict 
system, this was not allowed ; the | 
shield and helmet only were laid aside, 1 
but the soldier was always acc'uictus, I 
or had his sword on. Tac. Ann. xi. 
1 8. Veget. Mil. iii. 8. 

ACCUBITA'LIA. Things which 
belong to a sofa or couch ; particu- 
larly the furniture of a bed, or a 
dining couch, including the cushions 
or pillows, mattress, and coverlet ; as 



seen in the two next illustrations. 
Valerian, ap. Trebell. Claud. 14. 

ACCUBIT'IO (KaraKXicxiQ). The 
act of reclining at table (Cic. Senect. 
13.^ as described under ACCUBO. 

ACCU'BITUM. A particular kind 
of couch used to recline upon at meals, 
which was substituted under the em- 
pire for the lectus tricliniaris. (Schol. 
Vet. ap. Juv. Sat. v. 17. Lamprid. 
Elagab. 19.) The precise form and 
character of this piece of furniture is 
nowhere described ; but as the words 




accubo, ace umbo, accubitus, in their 
strict sense refer to the act of a siugh 
person, it is but reasonable to con- 
clude that the accubitum was a sofa 
intended for the reception of one per- 
son only : the more so as the annexed 
illustration from an ancient Roman 
marble (Symeoni, Epitaffi. Antichi, 
p. 51. Lione, 1558) shows that sofas 
of such a character were actually used 
at meals ; while the interpretation 
given explains at the same time the 
object of their introduction, in order 
that any number of guests might be 
accommodated at an entertainment by 
the addition of extra sofas (Lamprid. 
Alex. Sez>. 34.) ; whereas the accom- 
modation afforded by a tricliniary 
couch was limited to nine. 

ACCU'BITUS. Same as Accu- 
bitio. Stat. Ach. i. 109. 

ACCUBO {KciTOtKt mat, KnmK\l- 
vofiat). To recline at table, an attitude 




usually adopted by the ancients at their 



ACCUMBO. 



ACERSECOMES. 



7 



meals, instead of our habit of sitting. 
The posture of reclining, as clearly 
shown in the illustration, from the 
Vatican Virgil, was one between lying 
and sitting, the legs and lower part of 
the body being stretched out at full 
length on a sofa, whilst the upper part 
was slightly raised and supported upon 
the left elbow, which rested on a pillow, 
the right arm and hand being left free 
to reach out and take the food. 

The usual method of arranging the 
sofas, the etiquette of precedence, and 
position of the different places, is 
explained under the word Lkctus 
Tricliniaris. 

During the later periods of Roman 
history, the men and women reclined 
together at their repasts ; but the 
Greeks considered such a posture 
to be indecorous for females ; their 
women, therefore, either sat at a 
separate table, or upon one end of the 




couch on which the men only re- 
clined, as shown in the illustration 
copied from a Greek marble in the 
museum of Verona, representing a 
funeral repast (ccena feralis). The 
same practice was also observed by 
the Romans, before the corruption 
of manners incident vrpon wealth and 
conquest had ensued. 

ACCUM'BO. Properly denotes the 
taking a place on a dining couch, in 
contradistinction to Accnbo, which re- 
fers to a person already reclining; and 
in allusion to a single person, as dis- 




tinguished from Discumbo, which has 
reference to several persons or the 
whole company. But these distinc- 
tions are not always observed. 

ACERRA (XifiavurpiQ). A small 
square box with a lid to it (area tu- 
ralis. Serv. 
ad Virg. s£n. 

v. 745-). in 
which the 
incense used 
at a sacrifice 
was contain- 
ed. (Acerra 
tnris aistos. 
Ovid. Met. xiii. 703. Hor. Od. iii. 
8. 2.) The illustration is copied from 
a bas-relief in the museum of the 
Capitol at Rome, on which various 
implements employed at the sacrifice 
are sculptured. 

The incense itself was not burnt in 
the acerra, but the box was carried 
to the altar by an at- 
tendant of the priest- 
hood, as shown by 
the annexed figure, 
copied from a bas- 
relief at Rome. The 
box is carried in his 
left hand, a jug for 
pouring out libations 
of wine (cap's) in his 
right, and the skin of 
a victim over the left 
arm. The incense, 
when used, was taken 
out of the box, and sprinkled upon 
the burning altar, for which the expres- 
sion is libare acerra. Ov. Pont. iv. 8. 
39. Pers. Sat. ii. 5. 

2. According to Festus (s. v.), the 
same name was also given to a small 
portable altar placed before the dead, 
and on which incense was burnt. See 
the illustration to Ara ttjricrema, 
and compare Cic. Leg. ii. 24. 

ACERSECOMES (atcfpatKo/irig). 
Literally, with long and flowing hair, 
and thence, by implication, a young 
or effeminate person (Juv. Sat. viii. 
128.) ; for the habit of wearing the 
hair unshorn was regarded as unmanly 




8 ACETABULUM. 



.AC LIS. 



by the civilized Romans, 
among whom it was 
only adopted for young 
slaves who. waited at 
table, an instance of 
which is given in Pin- .p 
CERNA; or for the boys 

/-i^f^rl oc- \ 





{Camilli) who acted as \v 
attendants upon the 
priesthood at the altar, 
as in the illustration an- 
nexed, which is Copied 
from the Vatican Virgil, 
and represents one of 
these attendants. 

ACETABULUM {6ZvPa<pov). A 
vinegar cruet, or rather cup, which 
the ancients used to 
place upon their tables 
at dinner, to dip their 
bread in. (Isidor. Orig. 
xx. 4. 12. Apic. viii. 7. 
Ulp. Dig. xxxiv. 2. 
20.) We have no direct testimony 
of its being so employed, beyond the 
inference drawn from the Greek 
name of the vessel, which means 
literally a vinegar dipper. The origi- 
nal, of fine red clay, here figured, 
is in the Museum at Naples, and is 
an undoubted example of these cups, 
as the name o^vficupov is inscribed un- 
derneath it. Panofka, Recherches stir 
les vtritables A r oms des Vases Grecs. 

2. The cup used by jugglers of the 
class now called "thimble-riggers," 
joueurs de gobelets, in playing the trick 
of the " little pea.'*' (Seneca, Ep. 45.) 
This was a very common piece of 
jugglery both amongst the Greeks 
and Romans, and was played exactly 
in the same way as now ( Alciphron, 
Ep. iii. 20., where the process is 
circumstantially detailed). The 
"thimble-rigger" was called v/z^o- 
tcXtTTTtjc or \(/r)(poTraiKrr}c by the Greeks 
(Athen. i. 34. Suidas.) ; the Romans 
have left no specific name, except the 
common one for all jugglers, prces- 
tigiator. Seneca, /. c. 

3. A dry measure of capacity, con- 
taining the fourth part of a Hemina. 
Plin. H.N. xxi. 109. 




ACIC'ULA. A diminutive of 
Ac US ; but as the word is applied to 
the bodkin which women wore in 
their hair (Acus, 2.), the diminutive 
must be understood as expressing in- 
feriority of material, rather than 
smallness of size, for such ornaments 
were made of wood and bone, as well 
as ivory and the precious metals. 
Cod. Theodos. iii. 16. I. 

ACPNACES (aKwuKijc). A short, 
straight poniard, peculiar to the Per- 
sians, Medes, and Scythians (Hor. 
Od. i. 27. 5. Curt. iii. 3. i8.)v which 
was worn suspended 
from a belt round the 
waist, so as to hang 
against the right thigh 
(Val. Flacc. vi. 701. 
Floras, iv. II. 3.), as 
seen in the illustration 
from a bas-relief found 
amongst the ruins of 
Persepolis. The aci- 
naces Avas not a sword, but a dagger ; 
for it was worn together with the 
sword, but on the opposite side of the 
body, as may be seen on the wounded 
Persian in the celebrated Pompeian 
Mosaic, inserted under Brac^ ; from 
the reduced scale of the drawing, it 
is not very prominent ; but the handle 
of it is apparent on the right side, the 
sword being suspended by a belt.(&r/- 
ieus) on the left. 

ACIS'CULUS. A small "pick," 
used chiefly by builders and stone 
masons, having a bluff end 
like a hammer at one extre- 
mity, and a curved point, or 
pick, at the other. It is re- 
presented on several coins 
of the V alerian family, with the name 
inscribed below it, from one of which 
the example is taken. Quint, vi. 3. 53. 

AC'LIS or ACLYS. A massive 
weapon used by the Osci, and some 
foreign nations, but not by the Greeks 
or Romans (Virg. JEn. vii. 730. Sil. 
Ital. iii. 363.) It appears to have 
been a sort of harpoon ; for it con- 
sisted of a short thick stock set with 
spikes, and attached to a line, so that 



AGR'A TOP U OR UM. 



ACTUARIUS. 




it might be recovered again after it 
had been launched (Serv. ad Virg. 
I.e.) ; but it was only known to Servius 
by tradition, having fallen into disuse 
long before his time. 

ACRATOPH'ORUM {a K paro- 
(popou). Properly a Greek term, but 
familiarized in the Latin language 
as early as the time of Varro (Varro, 
A. AVi. 8. 5. Cic. Fin. iii. 4.), and 
employed to designate the vessel in 
which pure or unmixed Mane was 
placed upon the table. (Pollux, vi. 
99.) It was, therefore, in some 
measure, an Oppo- 
site to the Crater, 
a larger vessel, 
used for a similar 
purpose, but con- 
taining wine and water mixed to- 
gether. The illustration is copied 
from a marble vase (Buonarotti, Vast 
di Vetro. p. 31.), bearing an inscrip- 
tion dedicated to Silvanus, and orna- 
mented with a wreath of vine leaves. 
It corresponds exactly in form with 
two others delineated by the Pompeian 
artists, one of which is placed at the 
feet of a statue of Bacchus (Mus. Borb. 
vii. 56.), and the other in the hands of 
the god Acratus (Mus. Borb. vii. 62.), 
which, taken together, are quite suffi- 
cient to identify the form. 

ACROPOD'IUM. A word coined 
from the Greek, though 
not found in any Greek 
author ; the exact mean- 
ing of which is open 
to some doubts ; but 
the most probable inter- 
pretation seems to be, 
the low square plinth 
commonly seen under 
the feet of a marble 
statue (Hygin. Fab. 88.), 
as in the illustration, 
which represents the 
statue of Juno, placed 
in front of a temple, 
from the Vatican Virgil. 
. This acropodium formed a component 
part of the statue itself ; but it also 
served as a sort of upper basement or 




podium ' {anpov tt68iov) for the figure to 
rest on, when it was placed in an ele- 
vated position, or upon a regular base 
constructed for the purpose, as in the 
illustration. 

ACROTE'RIA (atcparripia). The 
pedestals placed on the summit and 
angles of a pediment for the purpose 




of supporting statues. (Vitruv. iii. 5. 
12.) They were frequently made 
without bases or cornices, as in the 
illustration. 

ACTUA'RIOLUM. Diminutive of 
Actuarius. A small vessel, or open 
boat, propelled chiefly by oars, never 




exceeding eighteen in number ; the 
one which transported Cicero [Ep. ad 
Att. xvi. 3.) had ten ; but they were 
sometimes assisted by a sail when the 
wind served. (Scheffer, Mil. A 7 <n f . 
ii. 2.) The example is copied from a 
miniature in the Vatican Virgil. 

ACTUA'RIUS. Naves aetuaricc, 
or simply Aetuarice. A large class of 
open vessels worked by sweeps and 




sails, in contradistinction to the mer- 
chantmen, or sailing vessels {onerarut) 



to 



AC US. 



ADMISSARIUS. 



(Sisenna. ap. Non. s. v. p. 535. Cic. 
Att. v. 9.) Properly speaking, these 
were not ships of war, that is of the 
line, but were employed for all pur- 
poses requiring expedition, as packet- 
boats, transports (Liv. xxv. 30.), for 
keeping a look-out, and by pirates 
(Sallust. Eragm. ap. Non. /. c. ), and 
were never fitted with less than 
eighteen oars. (Scheffer, Mil. Nav. 
ii. 2.) The illustration is from the 
Vatican Virgil. 

2. Actuarii. Short-hand writers, 
who took down the speeches delivered 
in the senate or public assemblies. 
Suet. Jul. 55. 

3. Under the empire, officers who 
kept the commissariat accounts, re- 
ceived the supplies for the use of the 
army from the contractors, and dis- 
pensed them in rations to the troops. 
Ammian, xx. 5. 9. Id. xxv. 10. 17. 
Aurel. Vict. p. 293. 

ACUS (aKearpa, fie\bvr), pa<pis). 
Seems to have designated in the 
Latin language both a pin for fasten- 
ing, and a needle for sewing ; as the 
specific senses in 
which the word is 
applied are some- 
times character- 
istic of the former, 
and sometimes 
the latter of these " 
two implements, which we distinguish 
by separate names. (Cic. Milo, 24. 
Celsus, vii. 16. Ovid. Met. vi. 23.) 
The illustration represents a box of 
pins found at Pompeii, and a sewing 
needle an inch and a half long, from 
the same city. 

2. A cits comatoria, or crincilis. A 
large bodkin or pin several inches 
long, made of gold, 
silver, bronze, ivory, 
or wood, which the 
women used to pass 
through their back 
hair after it had been 
plaited or turned up, 
in order to keep it 
neatly arranged, a fashion still retained 
in many parts of Italy. (Pet. Sat. xxi. 





1. Mart. Ep. ii. 66. Id. xiv. 24. Apul. 
Met. viii. p. 161. Varior.) The illus- 
tration is taken from the fragment 
of a statue in the Ducal Gallery at 
Florence, which shows the mode of 
, wearing these hair-pins ; but a great 
variety of oi-iginals have been dis- 
covered at Pompeii and elsewhere, of 
different materials and fancy designs, 
which are engraved in the Museo 
Borbonico (ix. 15.), and in Guasco 
{Delle Ornatrici. p. 46. ). 

3. The tongue of a brooch, or of a 
buckle formed precisely in the same 
manner as our own, as seen in the 




ED 



illustrations, which are all copied 
from ancient originals. Valerian, ap. 
Trebell. Claud. 14. 

4. A needle used for trimming oil- 
lamps, and usually suspended by a 
chain to the lamp, as is still 
the common practice in Italy. 
The illustration is copied from 
an original bronze lamp exca- 
vated in Pompeii, and a part of 
the chain by which it hangs is 
shown. The use of it was to 
draw up and lengthen the wick 
as it burnt down in the socket ; 
et producit acu stupas humore 
carentes. Virg. Moret. II. 

5. A dibble for planting vines. 
Pallad. i. 43. 2. 

6. A surgeon's probe (Furnaletti, 
s. v.) ; but he does not quote any 
ancient authority, and the proper term 
for that instrument was spectllum. 

ADMISSA'RIUS, sc. equus (dva- 
&a.T7]s). A stallion kept especially for 
the purpose of breeding ; for as the 
ancients mostly rode and drove entire 
horses, none but those especially kept 
for the purpose were allowed to have 
intercourse with the mares. Varro, 
E. E. ii. 7. 1. Columell. vi. 27. 3. 

2. Also used of other animals, as 



A DOR A TIO. 



ADYTUM. 



of asses. Varvo, R. R. ii. 8. 3. Pal- 
lad, iv. 14. 2. 

ADORA'TIO (irpoaKtvyais, Soph. 
Electr. 1374). The act of adoration, 
a mark of reverence exhibited by 
passers-by to any person or object 
towards which they wished to show 
extreme reverence and respect. This 




action was expressed by the following 
attitude and movements : — the body 
was inclined slightly forwards and the 
knees gently bent, whilst the right 
hand touched the object of reverence, 
an altar, statue, &c. ; the left was 
raised up to the mouth {ad os, from 
whence the term is derived), kissed, 
and then waved towards the object 
intended to be honoured. (Plin. H. N. 
xxviii. 5. xxix. 20. Apul. Met. iv. 
p. 83. Var'wr. Id. Apol. p. 496.) The 
chief motions in this pantomime are 
clearly shown in the illustration, which 
is copied from an engraved gem in 
Gorlasus {Dactyliothec. p. ii. No. 63.). 

ADULA'TIO {TrpocTKovrjais, Herod, 
i. 134). The most abject manner of 
doing an act of reverence, as practised 




by the Persians and other Oriental 
races by prostration of the body and 
bowing the head upon the ground 
(Li v. ix. 18. Id. xxx. 16. Suet. Vitell. 



2. Curt. viii. 5.), as represented in the 
annexed gem (Gorlaeus, Dactyliothec. 
ii. 396.), in which a worshipper is 
performing adulation to the god Anu- 
bis. The Latin poets also designated 
this act by such expressions as pro- 
cumhere (Tibull. i. 2. 85.), or promts 
adorare (Juv. Sat. vi. 48.). 

ADVERSA'RIA, sc. scripta. A 
day-book, or common -place book, in 
which accounts or memorandums 
were put down at the moment to be 
subsequently transcribed into a ledger, 
or into a regular journal. Cic. pro 
Rose. Com. 2. 

AD'YTUM {tidvTov). A private or 
secret chamber in a temple, from 
which every person but the officiating 
priests were strictly excluded. (Coes. 
B. C. iii. 105. Virg. ALn. vi. 98.) 
That the adytum was distinct from 
the cclla, is clear from a passage of 
Lucan (P/iars. v. 141-161.), in which 
the priestess, dreading the violent 
exertions she would have to undergo 
from the stimulants applied in the 
secret chamber to produce an effect 
like prophetic inspiration — pavens 
adyti penetrate remoti Fatidicum—%X.o^% 
short in the body of the temple and 
refuses to advance into the adytum, or 
den {anti-urn) as it is there termed, 
until she is compelled by force. A 
chamber of this kind is represented in 
that portion of the annexed illustra- 
tion, which lies behind the circular 




© o © © © © © © © © © 



absis, marked in a stronger tint than 
the rest, and which communicates with 
the body of the edifice by two doors, 
one on each side. The whole repre- 
sents the ground-plan of a small Doric 
temple, formerly existing near the 
theatre of Marcellus, at Rome, on the 



I 2 



ADYTUM. 



JEDTTUUS. 



site of which the church of S. Niccola 
in Carcere now stands. It is copied 
from the work of Labacco, who sur- 
veyed it in the 1 6th century, Libro 
delP Arckitettura, Roma, 1558. 

Apartments of this description were 
constructed for the purpose of enabling 
the priesthood to delude their votaries 
by the delivery of oracular responses, 
the exhibition of miracles, or any 
sort of preternatural effects, and at 
the same time conceal the agency by 
which they were produced. They 
consequently were not attached to 
all temples, but only to those in 
which oracles were uttered, or where 
the particular form of worship was 
connected with mysteries ; which 
explains why such contrivances are 
so seldom met with in the ground- 
plans of ancient temples still existing. 
But the remains of another ancient 
temple at Alba Fuceiitis, in the country 
of the Marsi, now Alba, on the Lake 
of Fucino, afford ample confirmation 
that the illustration introduced may 
be regarded as a true specimen of 
the ancient adytum. The interior 
of that edifice retained its pristine 
form, and was in a complete state 
of preservation when visited by the 
writer. It differs only slightly in 
construction from the example in the 
cut ; for the secret chamber is not 
placed behind the absis, but is con- 
structed underneath it, part being 
sunk lower than the general floor of 
the main body of the temple [cello) 
and part raised above it, so that the 
portion above would appear to the 
worshippers in the temple merely as a 
raised basement, occupying the lower 
portion of the absis, and intended to 
support in an elevated position the 
statue of the deity to whom the edifice 
was dedicated ; nor has it any door or 
visible communication into the body 
of the temple ; the only entrance into 
it being afforded by a postern gate 
within a walled enclosure at the back 
of the premises, through which the 
priests introduced themselves and 
their machinery unseen and unknown. 




But the one remarkable feature of the 
whole, and that which proves to con- 
viction the purpose to which it has 
been applied, consists in a number of 
tubes or hollow passages formed in 
the walls, which communicate from 
this hidden recess into the interior of 
the temple, opening upon different 
parts of the main walls of the cella, 
and thus enable a voice to be conveyed 
into any part of the temple, whilst the 
person and place from whence it 
comes remain concealed. 
^EDES [Domus, Templum.] 
^EDICULA. «A shrine, taber- 
nacle, or canopy, with a frontispiece 
supported by columns, constructed 
within the cella of a 
temple, and under 
which the statue of 
the divinity was placed 
— quadriga inauratcC 
in Capitolio positce in 
cella Jovis supra fas- 
tigium cedicnla . (Li v. 
xxxv. 41.) The illustration repre- 
sents the statue of Jupiter under a 
tabernacle in the Capitoline temple, 
as described by Livy in the passage 
quoted, and is taken from a medal 
struck in honour of the Vestal virgin, 
^Elia Quirina. 

2. A small cabinet made of wood 
after the model of a temple, in which 
the family busts or images 
of a man's ancestors {ima- 
gines majorum), the Lares, 
and tutelar deities of a 
house were preserved, and 
placed in large cases round 
the atrium. (Pet. Sat. 
xxix. 8.) The illustration is copied 
from a bas - relief in the British 
Museum, and represents an cedicula, 
in which the bust of Protesilaus is 
deposited. Compare Ovid. Her. xiii. 
150-158. 

^EDITTJUS, .EDITTMUS, or 
.EIDIT'UMUS (vao<pv\a$, lepofvXa^, 
veuKopos). A sacristan, or guardian, to 
whose surveillance the care of a temple 
was committed. (Varro. L. L. viii. 
1.2. Gell. xii. 10. ) He kept the keys, 




'3 




opened it at the appointed hours (Liv. 
xxx. 17.), attended to the sweeping 
and cleaning (Eurip. 
Ioit. 80-150.), and 
acted as a guide to 
strangers by ex- 
plaining the rarities 
and works of art 
it contained. Plin. 
xxxvi. 4. § 10. The 
appointment was an 
honourable one(Serv. 
ad Virg. Ain. ix. 
648.), for it was a 
place of trust and re- 
sponsibility ; as may 
also be inferred from the style and [ 
dress of the figure annexed, which | 
affords a rare example of the Greek 
redituus, from a bas-relief at Dres- 
den, whose office is indicated by the 
broom of laurel leaves, which was 
used for sweeping the temple at 
Delphi. Eurip. Ion. II. cc. 

/EGIS {alyis). In its primary 
sense a goat's skin, which the primi- 
tive inhabitants of Greece used, as 
well as the skins of other animals, as 
an article of clothing and defence. 
This would be naturally put on over 
the back, and tied by the front legs 
over the chest, so as to protect both 
the back and breast of the wearer, as 
seen in the statue of Juno Lanuvina 
in the Vatican Museum. (Visconti, 
Mus. Pio. Clem. ii. tav. 21.) It thus 
formed the original type of the aegis, 




as worn by Jupiter and Minerva, 
which was made out of the goat 



Amalthea, which suckled Jupiter in 
his infancy. Hygin. Astrou. ii. 13. 

The illustration exhibits a figure 
of Minerva on a fictile lamp (but 
imitated from a very ancient type), 
wearing the aegis as described above, 
which covers the breast, and falls down 
behind the back as low as the knees. 
The snakes of the Gorgon's head 
placed upon it, form a fringe round 
the edges in the same manner as 
Homer (//. ii. 448.) describes the 
tassels on the aegis of Jove. 

2. As such a mantle formed a 
cumbrous appendage to a statue in 
the ideal style of Greek sculpture, 
it was transformed by the artists 
of that country 
into a small and 
elegantly formed 
breast - plate, co- 
vered with scales, to 
imitate armour, and 
decorated with the 
Gorgon's head in 
the centre, as in the 
figure of Minerva 
here given, also 
from a fictile lamp. From this the 
word Afgis was subsequently used to 
designate the breast-plate of a divinity, 
but more especially of Jupiter and 
Minerva, as contradistinguished from 
Lorica, the breast-plate of mortals. 
Ovid. Met. vi. 79. Id. ii. 755. Serv. 
ad Virg. An. viii. 435. 

3. At a still later period the same 
word Mas used 
to designate the 
ordinary cuirass 
worn by persons 
of distinction, 
such as the Ma- 
cedonian kings 
and Roman em- 
perors, when, de- 
corated with an 
image of the 
Gorgon's head in 
front (Mart. Ep. 
vii. 1.), which 
they adopted amongst its other orna- 
ments in token of the divine cha- 





14 



MNEA TOR. 



MRO. 



racter and authority they assumed, 
as in the example, from a statue at 
Rome. 

4. The translation of aegis, a shield, 
conveys an idea quite remote from 
the original and true meaning of 
the word ; for almost every figure in 
the works of ancient art with a goat- 
skin on the breast, is also furnished 
with a shield apart ; and the passages 
where a defence in the nature of a 
shield is supposed to be referred to, 
are either equivocal, or may be under- 
stood with equal truth as descriptive 
of the large mantle of goat-skin shown 
in the first wood-cut ; which could 
easily be drawn forward over the left 
arm, to protect it like a shield in the 
same manner as the Atheni. as used 
their chlamys (see Clipeatu ■ Chla- 
MYDE), and as represented by the 
figure annexed, which is copied from 




a very ancient statue of Minerva in 
the Royal Museum at Naples. 

iENEA'TOR, A collective name 
for one who belonged to a brass band, 
and played upon any of the different 
wind instruments used in the army, at 
the public games, or religious cere- 
monies, including the Buccinatores, 
Cornicines, and Tubicines. Suet. Jul. 
32. Amm. Marc. xxiv. 4. 22. 

/EOLIP'IL^E, or ^Eolip'yl/e. 
Metal vases with a very small orifice, 
which were filled with water and 
placed on the fire to elucidate the 
origin and nature of wind by the 
effect of steam engendered within 
them. Vitruv. i. 6. 2. 




^QUIPONT>IUM(<nfcwjtta). The 
equipoise or moveable weight 
attached to a steel -yard 
(statera), and balance {libra, 
Vitruv. x. 3, 4.). A great 
many of these have been 
found at Pompeii and else- 
where, mostly made of 
bronze, and of some fanci- 
ful device, such as the ex- 
ample produced, which is 
taken from a Pompeian ori- 
ginal. 

yERA'RIUM. The public treasury 
of the Roman state, as distinguished 
from the exchequer, or private trea- 
sury of the emperors {fiscus) ; in 
which the produce of the yearly re- 
venue, the public accounts, the decrees 
of the senate, and the standards of the 
legions, were deposited. (Cic. Leg. 
hi. 4. Tac. Ann. iii. 51. Liv, iii. 69. ) 
During the republic the temple of 
Saturn was used as the treasury. 

2. ALrarium sanctius. A private 
department of the same, in which 
were kept the monies and treasures 
acquired by foreign conquest, and the 
fees paid by slaves for their manu- 
mission [aiirum vicesimarium), and 
which was never opened but upon 
great emergencies. Liv. xxvii. 10. 
Compare Quint, x. 3.3. 

3. sErarium militare. The army 
pay-office, a sepai - ate treasury estab- 
lished by Augustus to provide for 
the expenses of the army, for which 
purpose some new taxes were im- 
posed. Suet. Octav. 49. 

^ERO. A sand-basket made of 
oziers, rushes, or sedge (Plin. //. A 7 , 
xx vi. 21. Vitruv. v. 
12. 15.), which is fre- 
quently represented 
as used by the sol- 
diers employed in 
excavations, forti- 
fications, and ordi- 
nary field works, 
on the Column of . 
Trajan, from which ^^""^ 
the annexed illustration is taken. 
The Word, however, is only a collo- 




/ERUCA. 



AGGER. 



is 



quial term employed by the common 
people, or in familiar language. Do- 
nat, ap. Terent. Phorm. i. 2. 72. 
' iERU'CA. A bright green colour 
artificially made to imitate the natural 
verdigris (cerugo) which bronze ac- 
quires by age. Vitruv. vii. 12. Com- 
pare Plin. H. N. xxxiv. 26., who de- 
scribes the different processes for 
making this colour, but which he 
terms cerugo. 

^RU'GO (lbs xaX/coO). The 
bright green rust which bronze ac- 
quires from age, as distinguished from 
the brown rust of iron {ferrugo, ru- 
bigo, Cic. Tusc. iv. 14). The older 
the bronze, the more bright and beau- 
tiful the colour becomes, which is 
considered to enhance its value ; and 
on that account a statue of high an- 
tiquity was prized by the ancients far 
beyond one of more recent casting. 
Wink. Storia delle Arli, vii. 2. 10. 

zERUSCA'TOR (xa\/coA6yos). A 
charlatan or begging impostor ; liter- 
ally one who collects small pieces of 
money (<zra, x a ^ KO h Theophrast. 
Char, vi.) by imposing upon the 
credulity of others. Aul. Gell. xiv. 
1.2. Comp. ix. 2. 2. 

JES THERM A'RUM, A metal 
bell or gong, which was suspended in 
the public baths, in order to notify to 
the public by its sounds when the hot 




water for the baths was ready. Mart. 
Ep. xiv. 163. 

The illustration shows two of these 



implements, from an ancient painting 
representing a set of baths, and which 
are there suspended at the windows. 
Blanchini, Instrument. Mus. Vet. tav. 
vii. No. 8. 

AGA'SO (iiriroKo/xos). A slave at- 
tached to the stables, who dressed the 
horses, led them out, and held them 
till his master mounted ; a groom, 
ostler, or stable boy (Liv. xliii, 5. 




Plin. H. A r . xxxv. 40. § 29.), as seen in 
the example from the Vatican Virgil. 

2, Sometimes also applied to those 
who have the charge of other animals, 
such as donkeys (Apul. Met. vi. p. 
121., Variot\), and in a more general 
sense transferred to any of the lower 
class of slaves. Hor. Sat. ii. 8, 72. 

AGATHOD^MON (dyadodai- 
fxojv). The Greek name for a good 
spirit or guardian angel, for which the 
Latin term is Genius, q. v. Lamprid. 
Elagab. 28. Inscript. ap. Visconti, 
Mtis. Pio. Clem. torn. i. p. 153. 

AGE'A. The passage or gangway 
by which the boatswain {hortator) ap- 
proached the rowers (Isidor. Orig. xix. 
2. 4. Ennius, ap. Isidor. /. c.) ; also 
termed aditus in less technical lan- 
guage. Ovid. Met. iii. 623. 

AGGER (x&£ia). Generally any 
thing which is thrown together — 
quod adgeritur — to fill up a void, or 
raise a mound, whether of earth, 
wood, or rubbish, from whence the 
following more special senses are 
derived. 

I. An artificial mound or rampart 
with which the Romans surrounded 
their camps, or any position intended 
to be occupied for a certain period 
during the campaign. It was most 



i6 



AGGER. 



commonly a large embankment of 
earth, surmounted on the top by 
palisades {vallum), and protected on 
the outside by a trench {fossa), formed 
by the excavation of the earth dug 
out of it to form the agger. But in 
situations where the nature of the 
soil would not admit of an embank- 
ment of earth, other materials of ready 
and easy access were had recourse to, 
and it was then frequently constructed 
out of the trunks of trees filled in with 
brushwood, &c, as in the illustration 




from fhe Column of Trajan. The top 
of it is covered by a vallum or pali- 
sade, and a boarded gallery over-head 
for the protection of the soldiery. 
The example will at once explain the 
meaning of those passages in which it 
is mentioned that the agger was set on 
fire. Caes. Bell. Civ. ii. 14. 

2. Agger rnuroruin. (Virg. JEn. x. 
24.) An embankment upon which the 
walls and towers of a fortified city 
were built, and which served as a 
rampart upon which the garrison were 
stationed to defend the place. It was 
constructed of earth thrown up in the 
manner last described, but was more- 
over cased with masonry, and as- 
cended from the inside by a flight of 




steps, as seen in the cut, which is a 
section of the agger and walls still re- 



maining at Pompeii, with an elevation 
of one of its towers partially restored. 

3. A temporary mound of earth, 
wood, or any other materials ready 
at hand, thrown up against the walls 
of a besieged city, on which the bat- 
tering train (torme/ita bellica) was 
placed, and for the purpose of raising 
the assaulting parties to a level with 
the ramparts. Like the parallels in 
modern warfare, it was commenced at 
some distance from the city walls, and 
then gradually widened on the inside 
until it met them, which is implied by 
such expressions as agger pro motus ad 
urbem, Liv. v. 7. 

4. Agger vice, properly the road, 
that is, the central part of a street or 
highway intended for the traffic of 
carriages and cattle (Virg.^?//. v. 273.), 
which was paved with stones imbedded 
in cement laid upon several strata of 
broken rubbish (compare Via), and 
slightly raised in the centre, so that 
the section formed an elliptical outline, 
as seen in the annexed plan, which is a 




section between the curb stones of the 
Via Sacra, leading up to the temple 
of Jupiter Latialis. The plan upon 
which it was constructed explains why 
this part of a road was called the 
agger (Serv. ad Virg. /. c. Isidor. Orig. 
xv. 16. 7.), though the name is some- 
times used in a more general sense, as 
synonymous with Via, as Aurelius 
agger instead of Via Aurelia. Rutil. 
Itiner. 39. 

6. An artificial embankment or 




dyke upon the sides of a river to pro- 
tect the country from inundations 



A GIN A. 

(Virg. AUn. ii. 496.), and also a mar- 
gin of masonry, forming the quay of 
a port, to which the vessels were made 
fast. (Ovid. Met. xv. 690. Id. Trist. 
iii. 9. 13.) The illustration repre- 
sents a dyke of rough stones formed 
at the confluence of two rivers from 
the Column of Trajan. 

AGI'NA. The socket or eye, to 
which the beam of a balance is pinned, 
and in which the upright index 
{examen, ligula) oscillates to show that 
the object weighed corresponds ex- 
actly with the weight in the opposite 
scale. (Festus. s. v. Tertull. ad Her- 

A 



Si 

mog. 41.) Both the agina and the in- 
dex affixed perpendicularly on the 
centre of the beam are shown in the 
illustration, which is taken from an 
original of bronze. Caylus. iv. 96. 4. 

AGITATOR. Generally one who 
puts any thing in motion ; but more 
especially applied to those who drive 
cattle ; and in the following special 
cases. 



I. Agitator aselii (ovrjXaTrjs) . A 
donkey boy, or donkey driver. (Virg. 




Georg. i. 273.) From a fictile lamp 
formerly in the possession of Fobretti. 
{Col. Tr. Addend, p. ult.) 

2. Agitator equorum (V'OX *)- A 
coachman, or charioteer, who drove 



AGITATRIX. 17 



another person in a carriage, whether 
a chariot of war or not. (Virg. sE?i. 
ii. 476.) The illustration is from a 




terra cotta, representing Paris carrying 
away Helen. Wink. Mon. Ined.W]. 

3. When used by itself, and without 
any other word to modify or distin- 
guish it, a driver at the chariot-races 
of the Circus. (Plant. Men. i. 2. 50. 




Suet. Nero, 22.) Compare Auriga. 
The illustration is from a terra cotta 
lamp, formerly in the possession of 
Bartoli. 

AGITA'TRIX. A female who 
sets any thing in motion ; hence, syk 




i8 



AGSIINALIS. 



AFrEXir.tr, 



-■arum agitatrix, a huntress, who beats 
up the woods and covers (Arnob. iv. 
p. 141), particularly applied to Diana 
fhe goddess of the chase ; in -which 
character she appears in the illustra- 
tion from a terra cotta lamp, formerly 
in the collection of Bartoli. 

AGMINA'LIS, %c.equtts. Asnmp- 
ter horse, which follows an army for 
the purpose of earning the arms, 
accoutrements, and baggage, as in the 
example from the Column of Trajan, 




which shows one of these animals 
laden with the shields and helmets of 
the Roman soldiers. Dig. 50. 4. 18. 
§. 21. Cod. Theodos. 8. 5. 6. 

AG'OLUM. A long tapering stick 
used by the Roman drovers and 
herdsmen for driving their cattle. 
(Festus. s. v.) The drovers of the 
Roman Campagna make use of a si- 




milar instrument at the present day, 
formed by a long straight shoot of 
the prickly pear, precisely like the 
example here given, which is from a 
painting at Pompeii. 

AGONOTH'ETA (dy<avo0errjs). 
The president at the public games in 




Greece, always a person of distinc- 
tion, whose office it was to decide 
disputes, declare the victors, and 
award the prizes. Spart. Hadr. 13. 

AGRIMENSO'RES. Land sur- 
veyors. (A mm. Marc. xix. 1 1. 8.) A 
body formed into a college by the 
Roman emperors, andpaidbythe state. 

AHE'NUM. (xaXKecoy). Properly 
a copper or boiler for heating water, 
which was suspended 
over the fire, in 
contradistinction to 
the saucepan (caca- 
biis) for boiling meat 
or vegetables, and 
which was' placed 
upon it (Paul. Dig. 
33. 7. 18. Serv. ad 
Virg. Ain. i. 213.) ; 
however is not always 
example is copied from an original of 
bronze found at Pompeii ; the eye 
at the top of the handle is to receive 
the hook by which it was suspended. 

2. (ret x<*A/ceta. Theophr. Char, ix.) 
The coppers which contained the water 
for supplying a bath. (Vitruv. v. 10. 1.) 
These were always 
three in number, ar- 
ranged with a nice 
regard to economy of 
fuel. The largest, 
which contained the 
hot water (ca/dariuw), 
was placed imme- 



diately over the fur 
nace, the mouth of . 
which is shown bv the 



the distinction 
observed. The 




quare aper- 
ture at the bottom of the annexed 
woodcut; over that was placed a 
second (tepidariiun), which only re- 
ceived a mitigated heat from the 
greater distance of the fire, and 
which, therefore, contained water of 
a lower temperature ; the uppermost 
of all {frigidarium) received the cold 
water direct from the cistern ; thus, 
when the hot water was drawn off 
from the lowest copper, the empty 
space was immediately filled up with 
fluid which had already acquired a 
certain degree of heat, and the second 



ALA. 



19 



was again replenished with cold I 
water from above. All this is made 
very clear by the illustration, which 
shows the three boilers used in the 
baths of Pompeii, as restored by Sir 
W. Gell from the impressions which 
their figures have left in the mortar 
of the wall behind them in which | 
they were set. 

A'LA. The wing of a bird, and 
thence, from the resemblance in use, 




the feather affixed to the shaft of an 
arrow to guide and steady its course 
through the air. (Virg. jEji. ix. 578.) 
The example shows a Greek arrow 
found in Attica. 

2. A large recess in Roman houses 
of any size and splendour, of which 
there were generally two, one on 
each side of the atrium (Vitruv. vi. 
3. 4.\ furnished with seats, and 
closed in front with curtains ; and 




which, if we may judge from the I 
analogy afforded by the houses of 
modern Turkey (which have two 
precisely similar recesses on their 
galleries, closed with curtains, and 
fitted with divans), were intended for 
the master of the house to receive | 
his visitors, and enjoy the conver- 
sation of his acquaintance. The 
position of the Ala: is shown on the ; 
ground-plan of the house of Pansa j 
[see Domus], where they are marked 
C. C. ; their internal elevation in the j 
engraving above, which is a restora- j 
. tion of the atrium of the house of 
Sallust at Pompeii, and in which the 
entrance to the alse is formed by the 



two large doorways with the curtains 
drawn aside at the furthest angle of 
the chamber, on the right and' left 
hand. 

3. In large buildings, such as a 
basilica or Etruscan temple, which 
were divided by rows of columns into 
a centre nave and two side aisles, 
like our churches (a distribution, of 
which the great temple at Psestum 
affords an existing specimen ; see 
also the illustration to Basilica), 
these side aisles appear to be termed 
A Le by Vitruvius (iv. 7. 2.) ; and, 
in consequence, Professor Becker 
{Callus, p. 107. Trans/.) wishes to 
establish that the alee, of private 
houses were not the apartments de- 
scribed above, but merely two side 
aisles, separated in like manner by 
rows of columns from the centre of 
the atrium. But. to support this 
position, he is under the necessity of 
inventing an imaginary atrium of his 
own, unlike any which has yet been 
discovered either at Pompeii or else- 
where — of separating the eavcediitm 
from the atrium, — and of composing 
a Roman house upon a plan entirely 
conjectural, which he, therefore, dis- 
tributes into the three separate divi- 
sions- — the atrium first, next the 
cavcedium, and the peristyle beyond ; 
all which, though plausible enough 
in theory, receives no corroboration 
from any thing yet brought to light : 
and, therefore, in the absence of posi- 
tive authority, the interpretation given 
under Xo. 2. seems most entitled to 
confidence. 

4-. The wing of an army, which, in 
the Latin writers, is equivalent to 
saying the division or contingent 
furnished by the allies ; for these 
were always stationed on the flanks* 
to cover the legions' consisting of 
Roman citizens, who always occupied 
the centre of the battle array. Veget. 
Mil. 2. 14. 

5. Also applied to a body of cavalry 
containing 300 men and upwards, 
whether Roman troops or furnished 
by the allies, which were posted upon 



2 ALABASTER. 

each flank of the legions. Cincius op. 
Gell. xvi. 4. 4. 

ALABASTER or ALABAS- 
TRUM (aXd^aarpos and -op). A 
small vase for holding oint* jSl 
ments of a choice de- /f^ik 
scription (Cic. Fragm. op. 
Noh. s. v. p. 545. Mercer. \ W 
Pet. Sat. lx. 3. ) ; mostly <Sj*==|l> 
made out of an onyx stone 
(Plin. A! xxxvi. 12.), or \ 
sometimes of gold (Theocr. \ff 
Idyl. xv. 114.), but of a " 
peculiar form, like the shape of a 
pear, a pearl drop, or a rosebud, to 
all of which it is likened. (Plin. 
H. N. ix. 56. Id. xxi. 10.) The 
example is from an original formerly 
in the possession of the Roman anti- 
quary Pietro Ciacconi. Fortunatus 
Schackius, Myriothec. i. 47. 

ALA'RII. The troops stationed 
on the wings of a Roman army, 
including both the infantry and 
cavalry, which were formed out of the 
contingents furnished by the allies, 
and consequently varied in their arms 
and accoutrements, according to the 
customs of the different nations by 
whom they were supplied. (Cic. Fam. 
ii. 17. Cees. B. G. i. 51.) Bodies of 
such troops are represented in several 
battles on the Column of Trajan, as 
of the German auxiliaries, and Sar- 
matian cavalry, &c, each in the 
costume of their respective countries. 

ALBA'RIUM or OPUS ALB 
{Koviajj-a). Stucco or cement, with 
which brick walls were covered, 
made out of sandstone, brick, and 
marble, powdered and ground toge- 
ther for an outside coating ; or of gyp- 
sum and plaster of Paris, for the finer 
kinds used in the interior. Vitruv. 
vii. 2. Plin. H. N. xxxvi. 55. ib. 59. 

ALBA'RTUS (kovlclttis). A plas- 
terer, whose trade it was to cover the 
walls with cement, and make orna- 
mental cornices, friezes, and reliefs 
in stucco. Insa-ipt. ap. Gruter. 642. 
11. Compare Plin. H. N. xxxvi. 59. 

ALB AT US. Clothed in white. 
Thus in the Circensian games, auriga 



ALEXANDRINUM OPUS. 

albatus (Plin. H. N. viii. 65.), a driver 
who wore the white colour, or be- 
longed to the white company {/actio 
albata). 

ALBO-GALE'RUS. The fur cap 
worn by the Flamen Dialis, which 
was made of the 
skin of a white | 
victim which had JL 
been sacrificed to 
Jupiter, with a kIM^A 
spike of olive fiSk^l 
wood projecting fsSliHel 
from the top, pre- ^ V- 
cisely as seen in 

the illustration taken from a medal 
struck in honour of Marcus Anto- 
ninus. Festus. s. v. Varro. ap. Gell. 
x. 15. 4. 

ALBUM (XevKW/ma). A space or 
patch covered with white plaster 
against the walls of a building, upon 
which public announcements or ad- 
vertisements to the public were 

-iriOTBf. ; 

written ; and thence the name is 
given to any sort of white tablet 
bearing an inscription, such as a list 
of the senators, the praetor's edicts, or 
things of a like nature. (Paul. Sen- 
tent. 1. i. t. 14. Seneca. Ep. 48. Cic. 
Orat. ii. 12.) The illustration is a 
facsimile, upon a reduced scale, of an 
album written against one of the 
houses in Pompeii, which appears to 
have been equivalent to a modern 
announcement, such as : " Patron- 
ized by the Royal Family," or "By 
appointment." The words of it 

are MARCUM . CERRINIUM . VAT I AM . 
AEDILEM . ORAT . UT . FAVEAT . 
SCRIBA . ISSUS . DIGNUS . EST., i.e., 

Issus, the scribe, solicits the patron- 
age of M. Cerrinius Vatia, the aedile ; 
he is a fit person. 

ALEXANDRPNUM OPUS. A 
particular kind of mosaic work, 



ALICULA. 

especially used for the flooring of 
rooms, and belonging to the class of 
pavements termed sectilia, the dis- 
tinctive character of which consisted 
in this, that the frets or patterns 
forming the designs were composed by 
the conjunction of only two colours, 
red and black for instance, on a white 
ground, as in the example, which re- 
presents a portion of a pavement in a 
house at Pompeii. (Lamprid. Alex. 
Sev. 25.) The words of Lampridius 
seem to imply that this description of 
mosaic was first introduced by Seve- 

y $£^4 X j 

rus ; but such a notion is rendered 
untenable by the numerous specimens 
of it in the Pompeian houses. We 
must, therefore, understand that 
Severus merely introduced the cus- 
tom of forming such pavements by 
the contrast of two sorts of marble 
different in colour and quality from 
those which had been previously em- 
ployed for the pm-pose, viz., porphyry 
and Lacedaemonian marble. 

ALICULA. A short cloak or 
mantle resembling the chlamys in 
form, but of smaller dimensions, 
fastened by a brooch in front, and 




worn by persons of humble means 
(Mart. Ep. xii. 82.), by sportsmen 



A LI PTES. 2 1 

(Pet. Sat. xl. 5.), and by young 
persons (Ulp. Dig. 34. 2. 24.). It is 
often seen in works of ancient art, 
like the example, which is from a 
painting at Pompeii, in all of which 
the designation is clearly explained 
by the resemblance it bears to a pair 
of little wings, as the wind or motions 
of the wearer raise it floating from 
his shoulders. 

A'LIPES(Trre/)67roi»s). Having wings 
on the feet, an epithet especially given 




to the god Mercury, as in the ex- 
ample from a terra cotta lamp. Ovid. 
Fast. v. 100. Id. Met. iv. 753. 

ALIP'ILUS(7rapaT(Xrptos). A slave 
attached to the baths, or kept by 
| private persons for the purpose of 
I plucking out the straggling hairs from 
any parts of the body, or under the 
j arm-pits. Both males and females 
were employed for this purpose. 
Seneca, Ep. 56. Compare Juv. Sat. 
xi. 157. Cratin. 'tip. 2. 

ALIPTES or ALIPTA (dXeiVr^s). 
Properly a Greek word, but used by 
the Romans in the same sense as by 
the Greeks, to designate a person who 
combined in himself the several duties 
and authority of a lauista and unctor. 
It was his business to anoint and rub 
the bodies of the Athletic with oil 
and fine sand mixed together before 
and after a contest in the Palaestra, 
or of young persons in the gymnastic 
schools ; as well as to direct and pre- 
side over their training and exercises 
(Aristot. Eth. N. 2. 6. 7. Pindar, 
Olymp. viii. 54-71.); and also to 
give them advice respecting their 



22 



ALLIGATI. 



ALT A RE. 



diet and mode of living, which he 
was enabled to do from the knowledge 
he possessed of their muscular con- 
formation, and general state of bodily 
health. Cic. Fain. i. 9. Celsus, i. I. 

2. A slave attached to the baths, 
for whom the genuine Latin term is 
nnctor, whose business it was to rub the 
bather dry, scrape off the perspiration 
with the strigil, and then anoint the 
body with unguents, (Seneca, Ep. 56. 
Juv. Sat. vi. 422.) The illustration is 
taken from a fresco which represents 




a special sense, a 
of war with the 



a bathing room painted on the walls of 
a sepulchral chamber on the Appian 
Way, discovered in the last century. 
(Ficoroni, La Bolla d' Oro, p. 45.) It 
was undoubtedly copied from some 
celebrated original, for Juvenal must 
have had a similar one in his mind's 
eye when he wrote the passage above 
referred to. 

ALLIGATI. In 
captive or prisoner 
soldier who had 
charge of him ; 
i.e., the two to- 
gether were called 
alligati, because it 
was the Roman 
practice to chain 
the prisoner to his 
captor, the mana- 
cle being fastened 
to the right wrist 
of the former, and 
to the left of the 
soldier to whose custody he was com- 
mitted ; whence the allusion of Seneca 




[Tranquill. i. 10.), alligati stint qui al- 
ligaveruni. (Compare Stat. Theb. xii. 
460.) The illustration from the arch 
dedicated by the silversmiths of Rome 
to Septimius Severus, represents a 
Roman soldier with his prisoner, the 
latter with both his hands chained 
together behind his back, while the 
soldier is preparing to fasten the chain 
to his own arm : the ring which 
forms the manacle is seen at the end 
of the chain. 

ALLOCU'TIO. An address or ha- 
rangue ; especially such as the Roman 
generals were in the custom of de- 
livering to their soldiery. Allocutions 
of this kind are frequently repre- 
sented on medals, triumphal arches, 
and columns, at which the com- 
manders appear upon a raised plat- 
form {sug^estum), attended by their 




chief officers, with the standards and 
body of the troops arranged in front, 
as here shown from a medal of An- 
toninus, which also bears the inscrip- 
tion ADI.OCUTIO AUGUST. S. C. 

ALTA'RE. According to the gram- 
marians, a high altar (quasi alta ara), 
which was dedicated only to the gods 
above (Serv. ad Virg. Eel. v. 66. 
Festus, s. 77.), whilst the Ara was both 
lower, and employed in sacrificing to 
the gods below as well as those above. 
Such an interpretation may possibly 
acquire authority from the engraved 
gem here figured (Agostini, Gemme, 
142.), in which two altars, both with 
incense burning on them, but one 
much more elevated than the other, 
are seen ; a similar example occurs in 
the miniatures of the Vatican Virgil, 
in which four square altars are 
depicted, two tall and two lower 



ALTARIVM. 



ALVEOLUS. 



23 



ones, and which seem to illustrate 
such a passage as inter aras et altaria 




(Plin. Paneg.'x. 5. Compare ~2Xm.H.N. 
xv. 40.), and other places in which 
the two words are distinguished. 
The interpretation that altare means 
that which is placed on the altar (ara) 
is scarcely so satisfactory ; for in the 
passage of Quintilian (Declam. xii. 
26.), arts altaria imponere, the read- 
ing is doubtful ; and that of Justin 
(xxiv. 2.), sninptis in manus altaribus, 
will hear a very different interpre- 
tation. 

ALTA'RIUM, i. q. Altare. Sulp. 
Sev. i. 19. 

ALTICINCTUS (tyifavos). Hav- 
ing the tunic drawn high up through 
the girdle, and above the knees, in 
order to allow free action to the limbs, 




as was usual with rustics, labourers, 
or persons engaged in hard work or 
active exercise. (Phaedr. ii. 5. 1 1.) 




The example is copied from the Vati- 
can Virgil. 

ALU'TA. Leather dressed with 
alum (alumen) in order to render it 
soft and pliable ; whence the word is 
often used by the poets for a boot, 
shoe, purse, &c, made of such leather. 
Mart. xii. 26. Juv. Sat. xiv. 282. 

2. A patch, or beauty spot for the 
face. Ovid. Art. Am. iii. 202. 

ALVEA'RE (afjLTjvos, aififiXos). A 
beehive, in which the bees make their 
combs and deposit their 
honey. (Columell. ix. 
ir. I.) Amongst the 
ancients these were 
sometimes made of 
metal, of which an 
example is introduced 
(s. FORI) from an original found at 
Pompeii ; also of earthenware, but 
they were not approved, as being most 
affected by the vicissitudes of heat 
and cold. The best were made from 
strips of cork, or of the fennel-plant 
{ferula) sewed together; and the next 
best of basket-work (Columell. ix. 
6. 1. Virg. Geoj-g. iv. 33.), as in the 
example, which is taken from a 
Roman bas-relief, in which it is intro- 
duced as an emblem accompanying 
the figure of Hope. Montfauc. Antiq. 
Expl. i. 204. 

ALVEA'RIUM (<Tfi V pJ:u). A row 
of beehives, or place where beehives 
stand. Varro. R. A. iii. 16. 12. 

ALVE'OLUS. A diminutive of 
Alvetjs, generally ; but in a special 
sense of its own, a weaver's shuttle, 
which was used for conveying the 
threads of the woof (subtemeu) through 
the warp (stamen). (Hieron. Ep. 
130. ad Demetr. n. 15. ad toi-quenda 
subtemina in alveolis fusa volvantur.) 
From this passage, and the name by 
which the instrument was called, we 
may safely infer that it was a flat 
piece of wood rounded or pointed off 
at each end, and scoped into the 



shape of a boat, with a cavity in tin 



24 



ALVEUS. 



centre, into which the pin of the bobbin 
was inserted ; precisely like the figure 
here introduced, which represents a 
common kind of shuttle used in some 
parts of this and other countries, but 
which corresponds so exactly with 
the words above quoted, that it may 
be justly looked upon as an ancient 
model unchanged by time. There is 
a small hole in its side, through which 
the thread is drawn, and as the shuttle 
is thrown, the bobbin and pin revolve 
(fusa volvantur) and deliver oat the 
thread. 

AL'VEUS. From alvus, the belly ; 
whence it is applied in several special 
senses to a variety of objects which 
possess a real or imaginary resem- 
blance in form to that part of the 
human body. 

1. A long shallow wooden vessel 
answering to our notion of the words 
trough or tray, either 
for holding liquids or ^ 
any other articles ; 
like the figure in the cut, which is 
used by a carpenter for his tools and 
necessaries in a Pompeian painting. 
Plin. H. N. xvi. 22. Liv. i. 4. 

2. A small boat or canoe used 
upon rivers, of very primitive con- 
struction, being hollowed out of a 
single tree. (Veil. ii. 107.) The ex- 
ample here given represents a log 



canoe discovered in the bog which 
forms the bank of the old river at the 
junction of the Nen, at Horsey near 
Peterborough (Artis. Durobriv. pi. 
57.), which, if not of Roman origin, is 
certainly of very great antiquity ; and, 
as it resembles in every respect the 
canoes represented on medals which 
commemorate the foundation of Rome, 
it may be received as a model of the 
alveus. 

3- The hull of a ship ; and thence 
used by the poets for the ship itself. 
Sail. J tig. 21. Propert. iii. 7. 16. 

4. A particular kind of dish or 



small tray, in which certain sorts of 
fruit, such as olives, were handed 
round to the guests at table. Pet. Sat. 
lxvi. 7. 

5. A boai"d used by the Romans 
for one of their games of skill. The 
circumstance of dice as well as coun- 
ters being mentioned in connection 
with the game played upon the alveus 
(Plin. xxxvii. 6. Val. Max. viii. 8. 2.), 
implies that that game was the ludus 
duodeci?n saiptorum, in which, as in 
our backgammon, the move was 
decided by a throw of the dice. The 
alveus, therefore, must have resembled 
in some respects our backgammon 
board, and been divided in the same 
manner as the abacus (see Abacus, 
No. 2.), or if any difference really 
existed between the meaning of these 
two words, it is possible that the 
latter term was strictly used when the 
board consisted of a marble slab ; the 
former when made like a wooden 
tray with raised edges, as indeed the 
original notions of the two words of 
themselves indicate. 

6. A hot- water bath, constructed 
in the floor of a bathing-room at the 
opposite extremity to that which con- 
tained the Labrum (Vitruv. v. 10. 4. 
Marquez, Case degli Antichi Romaui, 




§ 317.), and furnished with a step 
at the bottom, which formed a seat 
for the bather when he descended into 
it. (Auctor. ad Herenn. iv. 10.) The 
illustration here given is a section of 
the alveus in the public baths at Pom- 
peii. The tinted part is the flooring- 
of the room formed of brickwork, in 
which the flues through which the 
hot air circulated are observable, one 
under the bath itself, and four others 
under the general flooring. A is the 
alveus ; B the seat on which the bather 
sat (gradus, Vitr. /. c.) ; C. a low para- 



ALVUS. 

pet wall forming the upper part of the 
bath (ptuteus, Vitr. /. c), from which 
two steps on the outside lead down 
to the floor of the room. The general 
plan of the apartment in which it is 
placed, and relative situation with 
respect to the other members of the 
same, will be understood by referring 
to the first wood-cut under Balineae, 
letters D, h, i. 

7. From this the word is sometimes 
transferred in a more general sense to 
any sort of vessel or convenience for 
washing in. Ovid. Met. viii. 652. 

8. A bee-hive. (Plin. H. N. vii. 
13.) [Alveare.] 

ALVUS, i. q. Alveare. Varro, 
Columell. Plin. 

AMANUENSIS {vvoypa^evs). A 
slave or a freedman employed as a 
secretary or amanuensis, to write 
letters which his principal dictated 
aloud. Suet. Tit. 3. 

AMA'ZON ('Afiafibv). An Amazon, 
a female warrior of Scythian race, 
whose armour consisted of a helmet, 
a shield of peculiar form called pelta, 
a bow and arrows, a sword, and double 
axe {bipennis), all of which acces- 
sories are shown in the illustration 
which is copied from a sarcophagus 
in the Museum of the Capitol at Rome. 




The common derivation of the name 
from fia^os, because they were said to 
have destroyed the right breast in 
order that it might not interfere with 
the use of their weapons, is a mere 
fiction invented by the grammarians ; 
for they are always represented in 
works of ancient art as perfect as other 
women. See the next cut. 



AMENTUM. 25 

Amazons are also frequently re- 
presented on horseback, in which 




case they are armed with a spear, like 
the ordinary cavalry of other nations ; 
as in the example from a fictile vase. 

AMBIVTUM (&juL<f>odos). Anyroad 
or street that leads round a place. 
Varro. ap. Non. s. Eqtiisones, p. 450. 
Mercer. Aristoph. Fra%m. 304. 

AM'BRICES. The cross laths (re- 
g?ilce) inserted between the rafters and 
tiles of a roof. Festus. s. v. 

AMBUBAIVE. Female musicians 
and ballad singers of Syrian extrac- 
tion, who frequented the Circus and 
places of public resort, and sup- 
ported themselves by their music and 
prostitution. Suet.AVn?, 27. Hor. Sat. 
i. 2. 1. Compare Juv. iii. 62. 65. 

AMEN'TO. To hurl a spear or 
javelin by the assistance of a thong 
{amentum) attached to it, which from 
the passages cited below appears to 
have been executed by inserting the 
fingers between the ends of the thong, 
and thus giving the missile a rapid 
rotatory motion before it was dis- 
charged ; but there is no known work 
of antiquity in which this action is 
represented. Lucan. vi. 221. Com- 
pare Ovid. Met. xii. 321. Cic. de 
Orat. i. 57. 

AMENTUM (to d/xfxa tQv clkov- 
t'iwv). A thong fastened to the shaft of 
a spear or javelin at the centre of 




gravity, in order to give it a greater 
impetus when thrown. (Liv. xxxvii. 
41. Ovid. Met. xii. 221. Sil. Ital. iv. 



26 



A MITES. 



14.) This illustration is taken from 
one of Sir W. Hamilton's fictile vases ; 
but in the celebrated mosaic of Pom- 
peii, believed to represent the battle 
of Issus, a broken spear provided with 
a similar appendage is seen lying on 
the ground. 

2. The thong or strap by which 
the soleae, crepidae, and similar kinds 
of shoes were fastened on the foot 
(Festus. s. v.), as in the example from 
a marble statue at Rome, where the 
amentum is shown by the broad flat 
thong which passes over the instep, 

/ 




and through the loops (ansae) affixed 
to the sides of the sole. Pliny men- 
tions a sitting statue of Cornelia, the 
mother of the Gracchi, which was 
remarkable for having a mere sole 
under the foot without any thong to 
fasten it (soleis sine amenta insignis, 
H.N. xxxiv. 14.); and similar omis- 
sions are not unfrequently observable 
in the Pompeian paintings, only to 
be accounted for by the caprice or 
inadvertence of the artists. 

AM'ITES. A pair of shafts, and par- 
ticularly applied to the two long poles, 
like those of a sedan-chair, which 
projected from the front and back of 
a Basterna, so as to form a double 




pair of shafts for the beasts which bore 
it. (Pallad. vii. 2. 3.) The illustra- 
tion represents a conveyance common 
in many parts of Europe during the 
middle ages, which, though not from 
any known Greek or Roman model, 
is introduced because it represents to 



the eye a precisely similar contrivance 
to what is mentioned by Palladius. 
Compare Basterna. 

2. Strong poles of timber inserted 
horizontally between two upright 
posts, for the purpose of making a 
fence to confine cattle within their en- 
closures. Columell. ix. I. 3. 

3. The two parallel rods upon 
which each side of a clap-net is 
stretched when laid flat upon the 
ground, and by which they are made 
to rise up atid fall over the bird which 
has alighted between them ; from 
which it may also be applied to the 
net itself. Pallad. viii. 12. Hor. 
Epod. 2. 33. 

That the ancients were acquainted 
with clap nets there is no doubt ; for 
they are represented in the Egyptian 
tombs, and constructed precisely upon 
the same principles as those now used 
by our bird-catchers. (Wilkinson's 
Ancient Egyptians, vol. iii. p. 37.) 
They are distinctly alluded to by 
Plautus (As. i. 3. 61-72.); andbyMa- 
nilius (Astr. v. 371-373.), where he 
describes the various ways of taking 
birds : Ant nido captare sua, ramove 
sedentcm, Pascenteinve super sur 
gentia ducere Una: in which passage 
the last words graphically depict the 
rising up of the clap-nets over the bird 
that is feeding on the seeds which 
the fowler has thrown down on the 
ground (area) between them, as de- 
scribed by Plautus. Lastly, Palla- 
dius (/. c.) says that an owl was em- 
ployed together with the amites, as a 
call bird, to which use it is still put by 
the modern Italians. All these cir- 
cumstances seem sufficient to autho- 
rise the interpretation given ; though 
it should not be concealed that Festus 
(s. v.) and the scholiast on Horace 
(/. c.) make the word synonymous 
with ancones, or varae, and explain it 
by the gloss furculae aucupatoriae, 
which is received by Doering, Orelli, 
and the commentators generally. But 
it is not probable that the Romans 
would have invented three different 
words to express one and the same 



AM ICTUS. 



AMPHITAPUS. 



27 



thing; nor is it easy to conceive how- 
birds could be caught by nets erected 
upon poles, which they could so easily 
fly over ; and the general analogy of the 
void, by a comparison with its other 
meanings, should not be neglected, 
both of which apply to poles placed 
in a horizontal and parallel position, 
as distinct from those which are set 
upright, or stuck in the ground. 

AMIC'TUS {eiri.f$\qfj,CL, ifiaTiov. 
Alciphr. Ep. iii. 42. 10.). A general 
term expressive of all the various 
articles of outer clothing, which were 
in fact wrapped round the person 
(from amicire), as distinguished from 
those of the inner apparel, which were 
drawn on (from indnere) ; including, 
therefore, the Toga, Pallium, Sagum, 
Abolla, Paludamentum, &c. (Virg. 
ALn. v. 421. Quint, xi, 3. 137. Com- 
pare INDUTUS.) The two figures 
here represented, both from Etruscan 




works, will explain distinctly what is 
meant by the term. The one stand- 
ing is just beginning to put on his 
amictus, a loose piece of cloth, one side 
of which is already passed from be- 
hind over the left arm and shoulder, 
whilst he is in the act of slipping his 
right elbow under the other side, in 
order to pull it up to the neck, so that 
both the ends will depend in front of 
the person in the manner represented 
by the left-hand figure, in the illus- 
tration to ANABOLIUM. He will then 
take up the right side, draw it across 
the chest, and turn the end over his 
left shoulder, so as completely to en- 
velope the upper part of the body in 



the manner seen on the sitting figure, 
who is then amictus pallio. Cic. de 
Orat. iii. 32. 

AMICTLUM. Diminutive of 
AMICTUS, and including all the 
smaller and finer kinds of outside 
wraps, both of male and female attire, 
which were disposed upon the person 
in the manner explained under the pre- 
ceding word, such for instance as the 
Chlamys, Sagulum, and also the bridal 
Flammeum. Festus. s. v. Corolla. 

AMPHIMAL'LTJM ( d,u0 1 aa\\ ov) . 
A very thick and coarse description 

; of woollen cloth, 

- having a long 

I nap on both sides 

I of the fabric, 

j from which the 

j name was taken ; 

j it was used for 

I carpeting, out- 
side coverings in 

j very cold weather, 
and seems to have 

I been, originally at 
least, of foreign 

I manufacture, for 
it was not known at Rome until the 
time of the elder Pliny (Plin. H. X. 
viii. 73.), and was probably intro- 
duced there from Germany, for it 
is represented in one of the trophies 
erected by the soldiers of Antoninus 
over the Germans on the column of 
that emperor ; from which the illus- 
tration is taken. It will be observed 
that the long nap is seen on the 
inside, where the edges turn over, the 
same as on the outside. 

AMPHIPROSTYLOS (d,u<pnrp6- 
crrvXos). Applied 
to temples, or to 
any other edifices 
which have an 
open porch or 
portico projecting beyond the cello, or 
main body of the building at both 
extremities, the front and rear, as 
shown on the accompanying ground- 
plan. Vitruv. iii. 2. 4. 

AMPHIT'APUS idfj-cplTairos). De- 
signates a particular kind of cloth, 




: 1 


• 


• 1 


• 



28 



A MP HI THE A TR UM. 



which, like the amphimattum, had 
a nap on both sides, but was of 
a finer texture (Athen. v. 26.), and 
probably of Oriental manufacture. 
There was certainly a distinction be- 
tween the two ; for amphimalla were 
not known at Rome till the time of 
Pliny, whereas amphitapa are men- 
tioned by Lucilius and Varro, ap. 
Non. s. v. p. 540. Mercer. 

AMPHITHEA'TRUM {aixQidia- 
rpov). An amphitheatre ; a build- 
ing originally constructed for the 
exhibition of gladiatorial combats, 
but occasionally used for other kinds 
of spectacles. 

The exterior was always formed 
by an oval wall, divided into one or 
more stories of arcades, according to 




the size of the building, and decorated 
with columns, pilasters, &c, accord- 
ing to the taste of the architect, as 
shown by the illustration introduced, 
which represents the external wall of 
an amphitheatre still remaining in a 
high state of preservation at Pola in 
Isti - ia. 

The interior formed an elliptical 
cup or hollow (cavea), set round with 
seats for the spectators, rising in 



steps one above the other, and was 
distributed into the following prin- 
cipal parts : the arena, a flat and oval 
space at the bottom, and in the centre 
of the edifice, where the combatants 
fought ; the podium, an elevated 
gallery immediately encircling the 
arena, reserved for the senators and 
persons of distinction ; gradus, the 
circles of seats occupied by the public, 
which, when the building was lofty, 
were divided into two or more flights, 
termed maeniana, by broad land- 
ing places ( praecinctiones) and raised 
j walls (baltei) ; and, vertically, into 
compartments in the form of an in- 
verted triangle or wedge {cunei) by a 
number of staircases {scalce), which 
communicated with the avenues of 
ingress and egress {vomitoria) within 
the shell of the building. On the 
top of all was a covered gallery, 
appropriated to the women. All of 
these points are discernible in the 
following illustration, which repre- 
sents the interior of the amphitheatre 
at Pompeii in its existing state ; but, 
as the drawing is necessarily made 
upon a very reduced scale, and is 
indistinct in parts from the dilapi- 
dations it has suffered, the whole 
plan and construction of these edifices 
will be better understood by compar- 
ing it with the plan subjoined in the 
following page, which is a restored 
section and elevation of a portion of 
the amphitheatre at Pola, by the Canon- 
ico Pietro Stancovich (Anfiteat?~o di 




AMPHITHEA TR UM. 



AMPHORA. 



29 



Pola, tab. 4.), in which all the parts 
are detailed more perfectly. The 
company entered the theatre through 
the arches on the ground-floor at the 
left-hand side of the engraving. A is 
the podium, which is approached by 
a short staircase, springing from the 
third or inner corridor, in the centre 
of the cut ; it is raised above the 
arena by a blank wall, surmounted by 
a balustrade, under which is seen one 

1ZL 



of the doorways through which the 
wild beasts or combatants emerged 
upon the arena. The staircase,, 
which commences immediately from 
the ground entrance, leads directly to 
the first meenianum (1), which the 
spectator entered through the door- 
ways (vomitoria) B, and descended 
the flights of stairs which divide the 
rows of seats between them into a 
wedge-shaped compartment (cuneus), 




until he came to the particular row 
where his seat was reserved. The 
high blank wall into which the en- 
trance (b) opens, is the balteus, 
and its object was to separate the 
different mceniana, and prevent the 
classes who were only entitled to a 
seat in the upper ones from descend- 
ing into those below. A branch 
staircase, diverging to the left, leads 
up to the corridor formed by the 
arcades of the outer wall ; from 
whence it turns to the right, and con- 
ducts to the second meenianum (2), 
which is entered, and distributed in 
the same way as the lower one, and 
separated from the one above by 
another balteus (c). Other stair- 
cases, but which cannot be shown on 
one section, conduct in like manner 
to the third manianum (3) and to 
the covered gallery for the women 
ahove (d). The three solid arches 



in the centre of the engraving, con- 
structed in the main brickwork of the 
building, form a succession of cor- 
ridors encircling the whole edifice, 
from which the different staircases 
spring, while at the same time they 
support the seats of the cavea, and 
the flights of stairs by which the com- 
pany entered or left the amphitheatre. 

AM'PHORA (a/n<popevs). A large 
earthenware vessel, with a handle on 
each side of its neck, and terminating 
in a point at bottom, so that it would 
stand upright if planted in the 
ground, or remain stationary if 
merely leaned against a wall ; chiefly 
used for containing wine in store, 
for which the smallness of its dia- 
meter, as compared with the height, 
shows it was invented, in order to 
contain a large quantity, and only 
occupy a small space. The illus- 
tration represents' two amphorae of 



30 AMPULLA. 



AMUSSIUM. 



the most usual form, the one stuck in 
the ground, and the other leaning 
against a wall, as they were found at 
Pompeii, and also shows the manner 




in which they were transported from 
place to place, from a terra-cotta bas- 
relief, which formed the sign of a 
wine shop in the same town. 

AMPUL/LA (XrjKvdos). A bottle; 
a general term, like our own, for a 
vessel of various shapes and materials, 
but more accurately one with a nar- 
row neck, small mouth, and swelling 
body (Plin. Ep. iv. 30. 6.) ; whence 




the word is figuratively used in the 
plural by the Romans and Greeks to 
signify turgid or inflated language, j 
(Hor. A. P. 97. Cic. Att. i. 14. 3. 
Compare II or. Ep. i. 3. 14., and 
Strabo, xiii. 1. 54.) The illustration 
affords an example of various originals 
excavated at Rome. 

2. Ampulla olearia (XrjicvOos i\air)pd. 
Jul. Poll. x. 62. Id. iii. 154.). An oil 
flask, such as was used for carrying oil 



to the baths for pour- 
ing over the strigil 
to prevent it from 
scraping too sharply, 
and for other general 




purposes. It is described by Apu- 
leius {Flor: ii. 9* 2.), exactly as re- 



presented in the cut, from an original 
formerly in the possession of Lorenzo 
Pignori (De Serv. p. 84.), as shaped 
like a lentil, with a narrow neck and 
flattish sides, lenticular i forma, tereti 
ambitu, pressula rotunditate. 

3. Ampulla rubida. A flask co- 
vered with leather, like our hunting 
flasks, and used by persons on a journey 
to hold wine, vinegar, or oil. Plaut. 
Stick, ii. 1. 77. Festus. s. Rubida. 

AMPULLA'RIUS. One who fol- 
lowed the trade of covering glass 
bottles with leather. Plaut. Rud. iii. 
4- Si- 

AMUS'SIS. An instrument em- 
ployed by masons and builders for 
testing the evenness, accuracy, and 
regularity of their work, as the rule, 
the square, and the plummet is by 
carpenters. The exact meaning is 
somewhat doubtful ; for, from the 
different passages where the word 
occurs, it appears to have been 
equally applied to a level for testing 
the uniform evenness in the surface 
of a wall or course of masonry (Fes- 
tus. s. v. Amussim and Examussim. 
Varro. ap. Non. s. v. Examussim, p. 5. 
Mercer) ; the square for proving a 
right angle (Auson. Edyll. xvi. 10.) ; 
and the line and plummet for pre- 
serving an exact perpendicular 
(Sisenna ap-. Charis. ii. p. 178.) ; but 
in each case the same general use and 
notion is preserved, that in whatever 
way applied, it is always for the 
purpose of proving that the work 
is accurately and regularly done : 
whence the expression adamussim or 
examussim is equivalent to accurately, 
i.e., according to line and rule. Mac- 
rob. Sat. i. 4. Aul. Gell. i. 4. 1. 

AMUSSITATUS. Made with ac- 
curacy and precision, as tested by 
the instrument amussis ; hence, figu- 
ratively, in Plautus {Mil. iii. 1. 37.). 
accurate, precise. 

AMUS'SIUM. A marble slab, the 
surface of which was exactly levelled, 
and proved by the instrument amussis, 
and upon which the direction of the 
winds was marked. It was then 



AN ABA THRUM. 



axaclinterium; 3 r 



fixed against the external wall of a 
house, as a dial, to show the point 
from which the wind blew. Vitruv. 
i. 6. 6. Marini, ad I. 

ANABATH'RUM {avdpadpov). 
Generally any row of seats rising one 
above another like a flight of stairs, 
as was the usual arrangement in all 
buildings constructed for the accommo- 
dation of a numerous company, such 
as the theatres, circus, &c. (See the 
illustrations under Am phit heatru m. ) 
But the more accurate and strict 
meaning of the word implies some- 
thing more definite ; viz., a temporary 
set of wooden seats, constructed upon 
the same principle, but which were 
hired for any special occasion, as a 
concert, recitation, &c, and placed 
round the sides of the room for the 
accommodation of a numerous audi- 
ence, in the same manner as is still 
common at the present day for a 
similar purpose, fuv. Sat. vii. 46. 

ANABOL'IUM [dvapoXaiov). 
Properly a Greek word, which has, 
therefore, a more especial reference 
to the customs of that people ; 
though, being a general term, it 
might be equally well applied to the 
Romans, when descriptive of similar 
habits. (Inscript. dp. Don. cl. 1. 
n. 91.) It is derived from the Greek 
dvafidWoj, " to cast up,'' and used to 




designate a particular mode of 
wearing the pallium, or any similar 
object of the outward attire, both 



of males and females, when the end 
was thrown up so as to cover the 
shoulder (Isidor. Orig. xix. 25. 7.). 
in the manner represented by the 
female figure of the preceding engrav- 
ing, which is taken from a statue 
of the Villa Pamfili at Rome. The 
male figure, from a fictile vase, show> 
the simplest mode of arrange- 
ment ; and is introduced here only 
for the purpose of explaining more 
clearly how the other was produced : 
viz., by taking up the side which 
hangs down behind the right arm, 
j passing it across the breast, and then 
J throwing it over the top of the left 
shoulder, so that the end will hang 
down behind, instead of in front, 
both the arms be covered, and 
the whole person more completely 
protected from the weather. In such 
j an arrangement, the brooch at the 
I throat Would be first unclasped, to 
l make the drapery set closer, and 
I the whole blanket drawn more on to 
the right side than in our figure, in 
order to afford a greater length for 
I casting over the shoulder. It may be 
remarked that the people of Italy 
adjust their cloaks at the present day 
in both of these ways, accordingly as 
the external temperature is more or 
j less inclement. 

AXACLINTE'RIUM (d?a:c\iv- 
Trjpiov). The head-board of a sofa 
or sleeping couch, upon which the 
squab and pillow for the support of 




the head rested. (Spart. A el. Ver. 5.^ 
The example is from a bas-relief at 
Rome, which represents the death of 
Meleager. 



A NAD EM A. 



ANCILE. 



ANADE'MA (avdSrjua). A band 
for the head ; but more particularly 




one which was used as a mere orna- 
ment, such as those worn by women 
and young persons of the male sex 
amongst the Greeks, in contradis- 
tinction to the diadema, vitta, or other 
head-bands, which were the insignia 
of regal, religious, or honorary dis- 
tinctions. (Eur. Hippol. 83. Lucret. 
iv. 1 1 26. Paul. Dig. 34. 2. 27.) The 
example is from a Pompeian painting. 

ANAGLYP'TA or ANAG'LY- 
PHA (avdyXviTTa, dvdyXvtpa). Objects 
cast in low relief ; a bas-relief in 
marble, metal, ivory, &c. Mart. iv. 
39. Plin. H. N. xxxiii. 49. 

ANAGNOS'TES (dwryvdcrijs). A 
slave, whose duty it was to read aloud 
to his master in his study, or to the 
guests at table. (Cic. Att. i. 12. 
Nepos. Att. 14. Aul. Gell. iii. 19.) 
Also a person who read out passages 
from the favourite poets in the theatre 
or public places (Aul. Gell. xviii. 5. 
1.), like the recitatori, or spiegatori of 
modern Naples. 

ANALEM'MA (&vd\yfifia). _ Pro- 
perly a Greek word, used to designate 
anything which serves as an under- 
prop ; and especially a wall, pier, or 
buttress constituting the substructure 
of a building (Dion. Hal. 
iii. 69.), for which the 
proper Latin term is Sub- 
structio. The Romans \\ 
adopted it to signify the 
pedestal upon which a sun- 
dial Mas erected, often 
seen in pictures and bas- 
reliefs as a square pillar, 
or short column (Alciphr. Ep. iii. 4. 
Winkelm. Mon. Ant. Jned. No. 157. 




185.) ; but Vitruvius, who uses the 
word, applies it incorrectly to the dial 
itself. (Vitruv. ix. I. I. Schneiders/ 
/.) In the illustration, copied from a 
silver cup found at Porto d'Anzio, only 
a portion of the analemma is drawn ; 
but that is sufficient to show what is 
meant : the whole consists of a square 
pilaster about five feet high, with a 
base at the bottom corresponding with 
the cornice at the top. 

ANANC^'UM. A vessel for 
holding liquids (Varro. ap. Non. s. v. 
Creterra, p. 547. Mercer), but of what 
precise character is very uncertain. It 
is usually interpreted a wine cup of 
great capacity, employed in drinking 
bouts, which it was compulsory to 
empty at a draught, upon the authority 
of Plautus (Rud. ii. 3. 33.) ; but the 
reading of the passage is doubtful. 
Weise has dvayKaius. 

ANATHEMA (dvddijfia). Pro- 
perly a Greek word, which includes 
anything that is set up as a votive 
offering in a temple, such as a tripod, 
I statue, &c, used in a Latin form by 
Prudent. Psychom. 540. 

ANCTLE (to dyKvXiov). The sacred 
shield found, according to tradition, 
in the palace of Numa, and 
supposed to have fallen 
from heaven. According 
to the grammarians, it was 
made of bronze, and of an 
oblong oval shape, but with 
a semicircular incavation 
on each side, similar to 
that on the top of the pelta (Varro, 
L. L. vii. 43. Festus. s. v. Mamur.), 
as seen in the illustration from a 
medal of Augustus, which also has a 
representation of the Salian apex by 
its side. The name ancile is evidently 
formed from the Greek dyKv\r\, the 
bend of the arm, which the gram- 
marians above cited refer to the in- 
cision on the sides of the shield ; but 
it is clearly referable to the semi- 
circular handle (compare Ansa and 
Ansatus) affixed to the top for the 
purpose of suspending it on the 
rod by which it was carried through 




ANCLABR1S. 



A NCON. 



33 



the city by the Salii, as seen in 
the annexed woodcut from an en- 
graved gem, in which the curvature 
of the sides is much less pronounced, 
and the general form more consonant 




with the language of Ovid (Fast. iii. 
377.) : Idque ancile vocat, quod ab 
omni parte recisum est ; Qiiaque notes 
oculis angulus omnis abest, which can 
scarcely be taken as a description of 
the figure on the medal of Augustus ; 
a figure which it is probable was 
invented by the designer of the 
medal, in conformity with the received 
derivation of the Roman antiquaries ; 
or perhaps the effects of age have 
modified the form, and made the 
indentures appear more prominent 
and decisive than they were in its 
early state. 

ANCLA'BRIS, A small table made 
use of as an altar at the sacrifice, upon 




which the sacrificial implements were 
placed, as well as the entrails of the 
victim, for the inspection of the 
diviners. (Festus s. v. Id. s. Escaricz.) 
The example represents a small bronze 
table found at Pompeii, which from 
its diminutive size, and the hollow 
form of its top, is believed to have 
been employed in the manner stated. 
It is rather more than eight inches 
high, rather less than eight long, and 



about seven wide. In one of the 
Pompeian paintings a priest is repre- 
sented carrying one of these tables to 
the sacrifice. Pitture di Ercolan. iv. 
tav. 1. 

ANCON (ayKi.lv). Literally an 
elbozv ; i.e. the bend or angle formed 
by the two bones of the arm when 
bent at the elbow joint ; from this it 
is transferred to several other things 
which partake of the same form, or 
have a resemblance to it ; and, as this 
flexure consists of two separate parts 
or sides, the word is generally applied 
in the plural. 

1. The arms or branches of a 
stone-mason's or carpenter's square 
(norma), which is employed t ; ; 
in measuring right angles ; 
and was formed of two flat 
rules mitred together like 
an elbow joint. (Vitruv. iii. 
5. 14.) The example represents a 
square thus formed, which is carved 
upon a sepulchral marble amongst 
many other implements of a carpenter's 
trade. Fabretti. Aq. 73. 

2. (7rapojri's — of'S vwepdvpu). In- 
script. in Elgin collection of Mus. 
Brit.) The trusses or consoles which 
support an ornamental cornice (hyper- 
tkyrum) over a doorway ; which are 
usually made in the form of the letter 
vS, and are affixed under each ex- 




tremity of the cornice, at right angles 
with it. (Vitruv. iv. 6. 4.) The small 
figure on the left hand of the engrav- 
ing gives a side view of one of these 
consoles, from the temple of the " Dio 
Redicolo," as it is now called, near 
Rome ; the other represents the cor- 
nice over the doorway to the temple 
of Hercules, at Cora, and gives a 
front view of the ancones depending 
on each side of the cornice. 



34 



ANCON. 



A NDA BA TJE. 



3. Cramps of bronze or iron em- 
ployed in building, for connecting 
together large blocks, or courses of 
masonry. (Vitrtiv. x. 13. 21.) These 
were used instead of mortar, in all 
structures of great size, and account 
for the number of holes observable in 
the masonry of many ancient build- 
ings, from which the cramps have 
been removed during the middle ages 
in order to get possession of the metal. 




The top figure in the illustration 
shows the form of a bronze ancon 
from the Coliseum, and the lower one 
the manner in which it was applied 
to cramp together two blocks of stone 
in the same edifice. 

4. The arms of an arm-chair, which 
are attached to the 
uprights forming the 
back, and thus with 
them constitute a 
right angle like the 
carpenters square. 
(Coel. Aur. Tard. ii. 
1 . ) The illustration 
is copied from a 
marble chair in a 
bas-relief formerly in 
the Palace of the Cardinal Mazzarini 
at Rome. 

5. The prongs or forks at the 
of the props {varce), which the 
cient sportsmen used to hang 
their nets upon. (Grat. Cyneg. 87.) 
These were stuck by their sharp 
ends into the ground, and at 
short intervals from one another, 
around any spot which it was 
wished to enclose, and the nets 
then hung upon the fork. Com- 
pare Vara, where the manner 
setting up the net is shown, 

6. A particular kind of bottle or 
vessel for holding: wine used in the 




end 
an- 

V 



of 



and which, from its denomination, is 
not unreasonably supposed to have 
been made with a bent neck, some- 
thing like a retort. An example 
alone is wanting to confirm the con- 
jecture. 

AN'CORA (dyKvpa). An anchor. 
The ancient anchors were sometimes 
made with only one arm or fluke, but 
' the most perfect kinds had two, made 
of iron, and in form closely resembled 



Roman taverns (Paul. Dig. 



7. i.U 




j those still in use. They were usually 
earned over the bows of the vessel 
j (Virg. ^iEn. hi. 277.), as in the ex- 
! ample from Trajan's Column ; but 
large ships had two, and sometimes 
more, according to their size. Athen. 
v. 43- 

AXCORA'LE. The cable of an 
anchor, Liv. xxii. 19. Id. xxxvii. 30. 
See the preceding woodcut. 

2. The buoy-rope. (Plin. H. X. xvi. 
16.} The buoy itself {arjixeiov ayxvpas. 
Paus. viii. 12. I.) was made of cork, 
and was attached by means of the 
ancorale to a ring, which is seen at 
the bottom of the shank in the pre- 
ceding illustration. While the buoy 
indicated the spot where the anchor 
lay, the rope which held it also served 
to draw the fluke out of the ground, 
when the anchor had to be raised. 

ANDAB'AT/E. A class of gla- 
diators who fought hoodwinked, or 
with a close helmet which had no 
opening in the visor to see through. 
(Hieron. adv. Jov. i. 36. Cic. Fam. 
vii. 10, but here the reading is doubt- 
ful.) According to Turnebus {Ad- 
ders, ii. 10.) they exhibited in the 
Circus after the races in a sort of 
ludicrous contest, both the driver and 
Andabata bein"; blindfolded. 



AND RON. 

ANDROX (AvSpibv). Properly 
speaking a Greek word, and therefore 
in its strict sense having reference to 
the customs of that nation. It de- 
signates the first of the two principal 
divisions into which the ground-plan 
of a Greek house was distributed, ap- 
propriated to the sole and exclusive 
use of the male portion of the estab- 
lishment. (Vitruv. vi. 7. 4. Festus, 
s. v.) It consisted of an open court 




{aiXri), surrounded by colonnades 
(marked c on the plan), round which 
were arranged the various sets of 
chambers required for the service of 
the proprietor and his dependants 
(Nos. I to 9), and was separated from 
the other division containing the 
women's apartments by a passage and 
door (marked d) between the two. 

2. The Latin writers applied the 
word in a very different sense, to de- 
signate a mere passage which di- 
vides one house, or one part of the 
same house, from another ; as, for 
instance, the passage between the ex- 



ANGUIS. 35 

ternal wall of a house and garden ad- 
joining (Plin. Ep. ii. 17. 22.); and the 
Roman architects made use of the 
same term most inaccurately to de- 
signate the corridor in a Greek house, 
which separated the men's and wo- 
men's apartments from one another 
(marked d in the preceding plan), but 
for which the proper name was 
Mesauhc. 

ANDRONI'TIS (AvSpuvir is). Sy- 
nonymous with Axdron, No. 1. 

ANGIPORTUS or ANGIPOR- 
TUM {arevwvbs). A narrow or 
back street, whether in the nature 
of a court which had no thorough- 
fare (Terent. Adelph. iv. 2. 40.), and 
which was then properly termed fun- 
dula ; or merely a small back street 
leading from any of the principal 
ones to the less frequented parts of 
the city. (Hor. Carm. i. 25. 10. Plaut. 
Pseud, iv. 2. 6.) These back streets 
in Pompeii are so narrow that a 
person can step across them from 
kirb stone to kirb stone at one stride. 

ANGUIL'LA. A whip made of 
eel-skin, which was used by the 




Roman schoolmasters to punish their 
scholars. (Plin. H. N. ix. 39. Isidor. 
Orig. v. 27. 15.) The illustration is 
copied from a painting at Hercu- 
laneum, which represents the interior 
of a school-room. 

ANGUIS. I. A serpent, or snake, 
which amongst the Romans was em- 
ployed as a symbolical representation 
of the genius loci, or presiding spirit 
of a place. (Serv. ad Virg. JEn. v. 



36 A XG US TIC LA VI US. 



ANSA. 




85.) Figures of serpents were there- 
fore painted against a wall, in the 
same way as the cross is in modern 
Italy, to deter the public from con- 
taminating the spot, and answered 
the same purpose as our injunction, 
" Commit no nuisance." Pers. Sat. 
i. 113. 

1 hese signs are frequently met with 
in the houses 
of Pompeii, in 
kitchens, bake- 
houses, and 
such places, 
where cleanli- 
ness is particu- 
larly desirable ; 
and generally 
with an altar 
between them, 
as seen in the 
annexed illustration, 
pied by the writer from one of the 
corridors leading into the Thermae of 
Trajan at Rome. It is painted in 
fresco, and has the following inscrip- 
tion underneath : 

IOVEM ET JUNONEM ET DUODECIM 
DEOS IRATOS HABEAT QUISQUIS HIC 
MINXERIT AUT CACARIT. 

2. A military ensign made in imi- 
tation of the figure of 
a serpent, and which 
was adopted in the 
Roman armies for 
the ensign of a co- 
hort. (Claud, in Ru- 
fin. ii. 5. 177. Sidon. 
Apoll. 5. 40.) It 
was more common- 
ly termed Draco, 
under which name the materials, char- 
acter, and uses are more fully de- 
scribed. The illustration is copied 
from the Column of Trajan. 

ANGUSTICLA'VIUS. One who 
is entitled to wear upon his tunic the 
ornament called clavus angustns, a 
distinctive badge of the equestrian 
order. Suet. OtJw, 10. [Clavus.] 

ANQUI'NA (dyKoiva). The collar 
by which the yard-arm of a vessel is 
fastened to the mast, technically called 



the "truss" by our sailors. Isidor. 
Otig. xix. 4. 7. Helvius Cinna ap. 
Isidor. /. c. 





In the illustration, which is copied 
from a fictile lamp, the anquina ap- 
pears as a semicircular ring, or band 
of wood, or of metal, but it was 
usually made of rope. It received its 
appellation from the primary sense of 
the Greek word, which means a bent 
arm. The dyKoiva dnr\r), which is 
spoken of amongst the Greeks as 
employed for vessels of a large class, 
such as Quadriremes, &c, does not 
mean that the yard was fitted with 
two trusses, but that the truss was 
made of a double thickness of rope to 
bear the wear- and tear proportional 
to the size of the yard. 

ANSA (ciyKos, 07/07). That by 
which we take hold of any thing ; 
whence it is specially applied, in the 
same way as our own word "handle," 
to many objects which differ essen- 
tially from one another in form and 
character, though all are employed 
for the same general purpose, as a 
handle to hold by. Of these the most 
important are the following : — 

I. [Aaj3r] — ra Sora). The handle of 
any vessel for containing liquids, as 
cups, jugs, amphorae, &c. 
These of course varied in 
form, according to the 
taste of the artist who de- 
signed them, and are in- 
differently placed upon the 
neck, one or both sides, or 
from top to bottom of the vessel as best 
suited the beauty of the whole out- 
line, of which the ancient artists 
always made them a component part, 
so as not to have the appearance of 
being stuck on afterwards, as mere 
accessories or after thoughts. The 
illustration is taken from a bronze 
jug found at Pompeii, with a single 




ANSA, 



ANSA TUS. 



37 



handle, of a very beautiful, though 
simple character ; but a great variety 
of other forms will be shown in the 
course of the work. Cato, R. R. 
113. Virg. Eel. hi. 45. Ov. Her. xiv. 
252. Id. Met. viii. 653. 

2. Ansa ostii {iiriaira<XTT)p, Kop&vrj, 
pbirrpov). The handle of a door by 
which it is pulled open or shut to, 
and which also served as a knocker. 
(Pet. Sat. 96. I.) These are fre- 
quently represented, as simple rings 
attached to ahold-fast ; in other cases 
they are more elaborately designed and 




ornamented, as in the illustration an- 
nexed, which is copied from an original 
of bronze, and formerly belonged to 
the door of a house at Pompeii. 

3. Ansa crepida (aynvXr]). The 
loop or eye fc==^\ 

on the side l^^J^hv 
leather of the J 

Greek shoe, / * ^\^>> 

called crepida, >_Ju^ 

through which ~ 

the thong or lace was passed and 
crossed over the instep to bind it on the 
foot. tTibull. i. 8. 14.) There were 
the same number of these on each side 
of the shoe, as may be collected from 
the well-known story of Apelles, who 
was reproved by a cobbler for having 
omitted one of the ansa in a work 
which he had exposed to public view. 
(Plin. H. N. xxxv. 36. § 12.) The 
form and character is clearly seen in 
the illustration, from a marble foot of 
Greek sculpture. 

4. Ansa stater a. The eye or handle 




on the top of a steel-yard, by which 



it is suspended, and which formed its 
centre of libration, being fixed to the 
shortest half of the beam, nearest the 
end on which the scale or object to 
be weighed was attached. ( Vitruv. x. 
3. 4.) The illustration is copied from 
a bronze steel-yard found at Pompeii. 

5. Ansa gubernaculi (oi'a£). The 
handle of a rudder (Vitruv. x. 3. 
5.), which was the top of the rudder 
pole (aa in the illustration), which 
the helmsman held with both his 
hands, when the rudder consisted of a 
mere oar without any tiller (elavus), 
as in the right-hand cut. But in 




large vessels, when the addition of a 
tiller was necessary, he placed one 
hand on the ansa (at A, left-hand 
cut), and the other on the clavus 
(b), which enabled him to move his 
helm with much greater facility. The 
right-hand figure is copied from the 
Column of Trajan ; the left-hand one 
from a painting at Pompeii. 

6. Ansa ferrea. An iron cramp 
by which the large blocks of stone 
were fastened together in ancient 
buildings, when mortar was not used. 
Vitruv. ii. 8. 4. same as Ancon (6), 
where an illustration is given. 

ANSA'TUS. Furnished with a 
handle or handles, as explained in the 
preceding word. 

2. Ansata hasta, Ansatum telum 
(dyKvXuTos, &yKv\r/T6i>, p.ecrdyKv\oi>). A 
spear or javelin, which was furnished 
with a semicircular rest for the hand, 
attached like a handle to the shaft. 
These handles were not permanent 
fixtures, but were put on to their 



3§ 



ANSULA. 



ANTECESSORES. 



weapons by the soldiers before going 
into battle, or upon an emergency, as 
occasion required (Plutarch. 2. p. 180. 
C. ed. Xylandr. Compare Xen. A nab. 




iv. 2. 28.), and they served a double 
purpose, to assist in hurling them, 
when employed as missiles — ansatas 
mittuntde turribus hastas (Ennius, ap. 
Non. s. v. Ansata, p. 556.) ; or as a 
stay for the hand which gave force to 
the thrust when used at close quar- 
ters, ansatis concurrunt telis (Ennius, 
ap. Macrob. Sat. vi. I.). Both of 
these uses are indicated by the illus- 
tration, copied from a painting on the 
walls of a warrior's tomb at Paestum 
(Nicolai, Antic hit a di Pesto, tav. vi.) ; 
and which is valuable for the au- 
thority it affords respecting the true 
meaning of the word, hitherto only 
guessed at, or misunderstood. But 
this picture proves the characteristic 
difference between the ansa and 
amentum of a javelin ; the latter, as is 
well known, being a mere thong ; the 
former, as here shown, and in ac- 
cordance with the primary and other 
notions of the word, both in Latin 
and Greek, a handle either of an 
angular or curved form attached to 
some other object. 

AN'SULA. Diminutive of Ansa ; 
applied in all the senses illustrated 
under that word. Valerius Maximus 
(viii. 12. 3.), in relating the story 
about Apelles and the cobbler, uses the 
diminutive ansulce instead of ansez, 
employed by Pliny {H. N. xxxv. 36. 




§ 12.) ; and in the illustration to 
Ansa (3) it will be observed that there 
are in reality a number of smaller 
loop-holes under the larger ones. 
That wood-cut will, therefore, afford 
an example both of the ansa and 
ansula strictly taken. 

ANT^E {irapdaTaSes). Square 
pilasters (Non. s. v. p. 30.), which 
are used as a termi- 
nation to the side 
walls of a temple, 
when those side walls 
are projected beyond 
the face of the eel la, 
or main body of the 
building. (Vitruv. iv. 
4. 1.) As one of 
these pilasters is re- 
quired on each side to form a cor- 
responding support, the word is 
always used in the plural ; and thus a 
temple is said to be in antis or frj 
7rapa<XTd<TL (Vitruv. iii. 2. 2.), when 
the porch is formed by the projection 
of the side walls, terminated, as de- 
scribed, by two square pilasters, 
which have two columns between 
them. 

ANTA'RIUS. Funes antarii ; 
ropes employed in the erection of a 
mast, column, or any other object of 
great weight and height. (Vitruv. x. 
2. 3.) They were fastened to the 
head of the column, and to the ground 
on each side of it at proper distances, 
in order to keep it steady, and prevent 
its inclining either way, whilst being 
erected. 

ANTEAM'BULO. A slave whose 
duty it was to precede the lectica 
of his master or mistress, and clear 
the way through a crowd (Suet. Vesp. 
2.) ; hence the same name is also 
applied to the freedman or client 
who performed the obsequious office 
of walking before his patron when 
he went abroad. Mart. Ep. ii. 18. 

ANTECESSO'RES. Light ca- 
valry soldiers who formed the ad- 
vanced guard of an army on the 
march ; they cleared the way for the 
main body, and selected the positions 



ANTECURSORES. 



ANTENNA. 



39 



for a halt or a camp. Hirt. Bell. 
Afr. 12. Suet. Vit. 17. 

ANTECURSO'RES. Same as 
Antecessores. Cses. Bell. Civ. 1. 16. 

ANTEFIX'A. Ornaments in 
terra-cotta, invented by the Etruscan 
architects, from whom they were 
borrowed by the Romans, and used 
to decorate various parts of an edifice 
externally as well as internally, to 
cover a flat surface, or conceal the 
junctures between two blocks of 
masonry, or to make an ornamental 
finish to any rough or inelegant con- 
tour. Hence the name is specially 
applied to the following distinct 
objects. 

i. Long flat slabs of terra-cotta 
with designs in relief, which were 




nailed along the whole surface of a 
frieze [zophorus), in order to enrich 
the entablature, and give to the part 
a finished and ornamental effect. The 
Greek artists sculptured the marble 
itself, and held such a contrivance 
for concealing defects in supreme 
contempt. (Li v. xxxiv. 4.) The il- 
lustration represents an original ante- 
fix found at Rome, which had once 
been used for the purpose described. 
The holes for the nails by which it 
was fastened up are perceivable on 
the surface. 

2. Ornaments of the same material 
which were affixed to the cornice of 
an entablature, for the wy-^ 



purpose of affording a 
vent for the rain water to 
discharge itself from the 
roof into the street. (Fest. 




s. v.) They represent 
the "gurgoils" of Gothic archi- 
tecture, but are of a more simple 
design, and most frequently formed 



by the mask of a lion's head, in 
allusion to the inundation of the 
Nile, which takes place when the 
sun is in the sign of Leo. The illus- 
tration is taken from an original 
found at Rome, which shows a round 
hole in the mouth, where a leaden 
tube was inserted to form a spout for 
the discharge of the water. 

3. Upright ornaments placed along 
the top of an entablature, above the 




upper member of the cornice, to con- 
ceal the ends of the ridge tiles {im- 
brices).^ and the juncture of the flat 
ones. The illustration represents a 
front and side view of two originals 
found at Rome ; the upper figure, in 
the centre, show's the ends of the tiles 
as they appear without the antefix, 
the one beneath it with the antefixes 
attached ; the right-hand figure also 
shows the shoulder at the back, which 
was inserted under the imbrex, to fix 
it up ; and the left-hand one, which 
has an image of Victory on its face, 
thus presents a graphic commentary 
to the passage of Livy (xxvi. 23.), 
where he mentions that the statue of 
Victory on the top of the temple of 
Concord fell down, and was caught 
by the Victories in the antefixes : 
Victoria, quce in culmine erat, fulmine 
icta decussaque ad Victorias, quce in 
antefixis erant, litesit, Sec. 

ANTEN'NA {eirUpiov). The 
yard-arm of a ship ; which was made 
of a single piece of fir when the 
vessel was a small one, but of two 
pieces braced together for those of a 
larger size. Hence the word is often 
met with in the plural number, while 
the sail attached to it is at the same 
time expressed by the singular — an- 
tennis totum subnectite velum (Ovid, 
Met. xi. 483.) Small yards of a 
single piece are represented in several 



4-0 A XT EPA GMEN'l ' Ul 



A XTERIDES. 



of the wood-cuts, illustrative of ancient 
shipping in different parts of this 
work ; and the yard introduced at 
p. 36. s. v. ANQUINA shows distinctly 
the manner in which the two pieces 
were joined together for the larger 
kinds. The yard itself is taken from 
a bas-relief on a tomb at Pompeii ; 
the details of the sail and truss by 
which it is fixed to the mast, from 
two terra-cotta lamps of Bartoli. 

ANTE PAG MEN'TUM. The 
jamb of a door-case ; especially so 
termed when the jamb was made 
with an ornamental moulding which 
projected before the upright pillar 
{scapus cardinalis) that formed the 
pivot on which the door turned, and 
concealed it entirely from view on the 
outside. Vitruv. iv. 6. Festus, s. v. 
Cato, R. R. xiv. 4. 




This will be readily understood by 
the illustration, which represents an 
elevation and ground-plan of the 
ancient door and door-case still re- 
maining to the church of S. Theodore 



at Rome, formerly the temple of 
Renins. On the right side the ante- 
pag7?ientum is cut away in order to 
expose the shaft and socket, while 
the left side and the ground-plan 
show the manner in which those parts 
were concealed by the antepagmentiim, 
and explain the real meaning of the 
word. It will also be observed that 
a door so constructed could only open 
inwards ; the style of the door, to 
which the pivot was affixed, and the 
socket in which it turned, being 

i placed behind a projecting part of 

J the jamb, which was hollowed to re- 
ceive it, and thus formed a sort of 
frame lapping over the edges of the 
door on the outside, so as to exclude 
the external air from the interior. 

2. Antepagmentum \ super his. Vitruv. 
iv. 6. I. The lintel of- a door-case ; 
especially when the door opened 
inwards, and the moulding of the 
lintel lapped over its upper edge, in 
the same manner as just described 
with respect to the jambs on the 
sides. a construction commonly 
adopted in the houses at Pompeii, 
where the doors are usually placed 
entirelv behind the door-case. 

AXTEPILA'NI. The men who, 

I in the battle array of the Roman 
legion, were drawn up before the 
Pilani or Triarii, who were posted 
in the third line. Thus it is a general 
term, comprising the soldiers of the 
two first lines, and including both the 
Hastati and Principes, as they were 
respectively called. Liv. viii. 8. 

AXTE'RIDES (epeiafiara). But- 
tresses built up against the outside of 
a wall to support it if weak v Vitruv. 

j vL 8. 6.*, seldom employed by the 
Greek or Roman architects, except 

j to strengthen a foundation. The 
illustration shows the construction of 

j the Cloaca Maxima at Rome, with 
external buttresses on each side of 
the masonry, as seen in an excavation 
superintended by Piranesi. These 
buttresses, however, are formed of a 
different stone from the rest of the 
work, and were not part of the original 



ANTESIGNANI. 



ANTLIA. 



41 



construction, but may be regarded 
as vestiges of the repairs which the 
sevyers underwent upon the occasion 




alluded to by Dionysius (iii. 67.), 
when a sum of not less than 200.000/. 
of our money was laid out upon them. 

ANTESIGNA'NI. A body of 
the boldest and best men of the 
legion, who were stationed imme- 
diately before the standards to pre- 
vent their being captured by the 
enemy. Cses. B. C.i. 57. Liv. xxii. 5. 
Id. ix. 30. 

ANTESTOR. To summon a per- 
son, or ask him to become witness 
that a defendant refuses to come into 
court. On such occasions the plaintiff 
asked any of the bystanders to bear 
witness of the defendant's contempt, 
by the words licet antestari; upon re- 
ceiving his assent, he touched the ear 
of his witness, then seized upon the 
person of his opponent, and dragged 
him forcibly into the court. Plaut. 
Pers. iv. 9. 10. Hor. Sat. i. 9. 78. 
Plin. //. N. xi. 103. 

ANTIvE. The ringlets of a 
woman's head of hair, which hang 




breast strap 
saddles of a 




down to the ears from the temples 
(Festus, s. v. Isidor. Orig. xix. 31. 8.), 
and likewise the side locks of males, 
when studiously arranged in the same 
way from the temples down the sides 
of the face (Apul. Flor. i. 3. 3.); as 
in the example, from a small bronze 
figure found at Herculaneum. The 
illustration to Anadema shows these 
ringlets as worn by females, from a 
Pompeian painting. 

ANTILE'NA. A 
attached to the pads 
beast of burden, 
in order to keep 
the saddle from 
sliding back- 
wards. (Isidor. 
Orig. -kx. 16.) 
It was fastened 
to the front of the 
saddle on both 
sides, and passed across the chest of 
the animal, as in the illustration from 
a painting at Herculaneum ; and was 
a necessary appendage to the pack- 
saddle in all mountainous countries, 
where the ascents are steep. 

ANTIQUA'RIUS. A term used 
under the empire, and distinct from 
Libraries, to designate a person em- 
ployed in copying old books (Isidor. 
Orig. vi. 14. I.), and who wrote in 
the old uncial character after the 
running letters had come into general 
use. Becker, Gallus. i. p. 164. Transl. 

ANTLIA (dvTXia). A pump, or 
other machine for raising water, in- 
cluding all the various contrivances 
adopted by the ancients for that pur- 
pose ; and not indicating any par- 
ticular construction ; the word being 
used by Martial {Ep. ix. 19. 4.) to 
designate the pole and bucket ; by 
Suetonius {Tib. 51.), the water tread- 
wheel ; and by Callixenus {ap. 
Athen. v. 43.), the Archimedean 
screw. The different machines thus 
comprised under the general term 
Antlia are described and illustrated 
under their own specific names, and 
are as follows : — 1. Rota Aquaria ; 
2. Tympanum ; 3. Tolleno ; 4. Gir- 



42 



A NUL ARIL'S. 



ANULUS. 



GILLUS 



Ctesibica machixa 



and Sipho ; 6. Cochlea. 

ANULA'RIUS and ANNUL A '- 
RIUS. One who follows the trade 
of making rings. (Cic. Acad. ii. 46.) 
The ring makers formed a distinct 
collegiu?n or company at Rome. In- 
script. ap. Murat 2015. 5. 

AN UL AT US and ANNUL A'- 
TUS. In general, having or being 
furnished with rings ; whence 

I. Anulati pedes, having fetters on 
the feet, in the manner of the fanning 




slaves amongst the Romans, who 
worked in chains (Apul. Met, ix. 
p. 184.), as in the example, from an 
engraved gem. 

2. Anulatce aures. Ears with rings 
in them (Plaut. Pan. v. 2. 20.), as 




in the example, from a Pompeian 
painting. 

ANULUS or AN'NULUS (&wc- 
tvXlus, ucppayis). A 
ring for the finger ; 
originally made of iron, 
and used as a signet for 
sealing. Subsequently, 
however, golden rings 
were adopted instead of iron, but the 
use of that metal at Rome was restricted 





to the senators, chief magistrates, and 
equites. (Plin. H. X. xxxiii. 4. ) The 
example represents an original from 
the Dactyliotheca of Gorlaeus. The 
signet ring was 
worn on the fourth 
finger of the left 
hand both by the 
Greeks and Ro- 
mans (Aiil. Gell. 
x. 10.); see the right-hand figure in 
the cut, which represents the hand of 
Jupiter, from a Pompeian painting ; 
and thence the expression, sedere ad 
anulos alicui (Eum. Paneg. ad Const. 
15.), means to sit on the right hand 
of any one. But under the empire 
the fashion of wearing rings of various 
kinds, and degrees of value, as mere 
ornaments, became prevalent amongst 
all classes, and were worn on different 
fingers of both hands, as well as 
several at a time (Mart. Ep. v. 61. 
Id. xi. 59.); see the left-hand figure 
from a Pompeian painting, which 
shows a female hand with three 
rings, two on the fourth, and one on 
the little finger. 

2. Anulus bigemmis. A ring which 
has two precious stones set in it. 
(Valerian, in Epist. 
ap. Trebell. Claud. 
14.) The illustra- 
tion exhibits an 
original from the 
Dactyliotheca of 
Gorlaeus (Part i. 
No. 68) with two 
engraved gems set in it ; one, a large 
signet, with the figure of Mars, and 
the other a smaller one, with a dove 
and myrtle branch. 

3. Anulus velaris. A curtain ring 
. made like our own, to run upon a 

; rod for the purpose of drawing or 
withdrawing the curtain. Amongst 
the Romans these rings were usually 
made of hard wood. (Plin. H. N. 

j xiii. 18.) In a house excavated 
at Herculaneum in 1828 (an ele- 
vation of which is given as an illus- 
tration to the article Domus), the 
iron rods upon which they ran be- 




ANUL US. 



AP H RACTUS. 



43 




tween the columns of the Atrium 
were found entire, 
and similarly placed 
to the example 
annexed, which is 
from a miniature 
of the Vatican 
Virgil, and exem- 
plifies their object 
and use, though 
from the minute- 
ness of the design 
not discernible upon 
the rod. 

4. A i"ing set round the 
boy's hoop, for 
the purpose of 
creating a jing- 
ling noise as the 
hoop performed 
its revolutions. (Mart. Epigr. xiv. 
169.) Several of these were placed 
on the same hoop, as shown by the 
example, which is copied from a 
sepulchral bas-relief on a tomb still 
remaining near Tivoli. 

5. A plait of long 
in circles, like 
rings, round the 
back part of the 
head (Mart. Epigr. 
ii. 66.), as seen in 
the illustration an- 
nexed, which re- 
presents Plotina, 
the wife of the 
emperor Trajan, from an engraved 
gem. The female peasantry in many 
parts of the Roman and Neapolitan 
states still continue to arrange their 
hair in a similar manner. 

6. In architecture, annulets ; which 

consist of a series 

of rings or cir- 
cular fillets, vary- 
ing in ancient 
examples from 
three to four in number, which are 
placed immediately below the echinus 
of a Doric capital, and fall off per- 
pendicularly under one another like 
an inverted flight of steps. Vitruv. 
iv. 3. 4. 




\'![| j Hill/ 



P7 



A PAL ARE or APPLA'RE. 

description of , 

ladle or spoon, 
more particularly 
intended for cook- 
ing or handing round soft boiled, or 
perhaps poached, eggs {Gloss Isid.) ; 
though it was also employed for 
other purposes. (Auson. Epist. xxi.) 
The illustration is copied from an 
original of bronze found in a kitchen 
at Pompeii, which, it is believed, 
affords a specimen of one of these 
implements. 

APEX. Literally a pointed piece 
of olive wood, set in a flock of 
wool, which was worn on the 
top of the head 
by the Flamines 
and Salii (Festus, 
s. v. Albogalerus. 
Serv. ad Virg. A. 
x. 270.). It was 
fastened by a fil- 
let on each side, or to a cap which 
fitted the head, as in the example, 
from a Roman bas-relief ; whence 
the word apex is often put for the 
cap itself. Fabius Pictor a p. Gell. x. 
15. 3. Liv. vi. 41. 

2. (kQvos). The ridge on the top 
of a helmet to which the crest of 





horse-hair was affixed. (Isidor. Orig. 
xviii. 14. 2. Virg. JEn. xii. 492.) The 
apex itself is prominently shown in 
the annexed example, which is copied 
from a bronze original found at 
Pompeii ; but a specimen, with the 
horse-hair crest attached, is given 
under the article Galea. 

APHRACTUS or APHRAC- 
TUM (ti.<t>panTov). A ship without a 
deck, or only partially covered fore 
and aft, in the manner which we term 



44 



APIARIUM. 



A POSPHRA GISMA . 



half-decked. (Cic. Att. v. 13.) The 
illustration is copied from the Vatican 
Virgil, and shows by the relative 




height of the men that it has no deck 
in the centre ; by comparing the 
decked ships instanced s. v. Navis 
CONSTRATA, the different construction 
of the two will be readily apparent. 

APIA'RIUM {fxeXcacrwv, fieXcaao- 
Tpocpelov). An apiary, or place where 
a number of bee-hives are kept. 
Columell. ix. 5. 6. 

APIA'RIUS (pLeXurcrevs — ■ ovyos). 
One who tends and keeps bees. Plin. 
H. N. xxi. 31. 

APICATUS. Wearing the apex 
or pointed cap of the Flamen Dialis. 
'Ovid. Fast. iii. 397.) See the en- 
graving in the preceding column, and 
article Flamex. 

APLUS'TRE and A P L U S'- 
TRUM {acpXaarov). An ornament 
made of wooden 
planks, somewhat 
resembling the fea- 
thers of a bird's 
wing, which was 
commonly placed on 
the stern of a ship. 
(Lucan. iii. 586. 
Lucret. iv. 439.) 
The illustration re- 
presents an aplustre 
in detail from an ancient bas-relief, of 
which there is a cast in the British 
Museum ; the situation which it oc- 
cupied upon the vessel is shown in 
the preceding woodcut. 

APODYTE'RIUM {airohvriipiov). 
An imdressing-room ; especially a 
chamber in the baths (Cic. Q. Fr. 
iii. 1. 1. Plin. Ep. v. 6. 25.), where 
the visitors undressed, and left their 




clothes while bathing ; for in the 
public establishments every person 
was compelled by law to strip himself 
before he passed into the interior 
apartments, as a check to robbery, 
and to prevent the concealment of 
stolen articles about the person. (Cic. 
Ccel. 26.) The illustration repre- 




sents the interior of the Apodyterium 
in the baths at Pompeii ; its relative 
position with regard to the other 
apartments of the establishment may 
be seen on the ground-plan of 
Balineje, on which it is marked 
a. It is furnished with three doors : 
the one on the left hand, at the 
further end of the engraving, is 
the general entrance from the out- 
side ; that on the right of it opens 
into the cold bath ; and the nearest 
one on the right gives access to the 
warm bath. Seats for dressing and 
undressing upon run along three sides 
of the room ; and holes are seen in 
the walls, in which wooden pegs were 
fixed for hanging up the clothes. The 
small dark niche under the window 
served to contain a lamp. 

APOPHORE'TA {dTrocpopvTa) . 
Presents which a host gave to his guests 
at the conclusion of an entertainment, 
to be carried home with them. Com- 
pliments of this kind were more espe- 
cially customary during the fete of 
the Saturnalia. Suet. Cal. 55. Id. 
Vesp. 19. 

APOSPHRAGIS'MA {airo<r<t>p&- 
yLafia). The device or impression 
upon a signet ring. (Plin. Epist. x. 
55. 3.) See the illustrations s. v. 
Anulus. 



APOTHECA. 



AQUARIUS. 



45 



APOTHE'CA (a7ro6»7?/oj). A 
store-room or repository for any de- 
scription of stock. (Cic. Vatin. 5. Id. 
Phil. ii. 27.) This word contains 
the elements of the Italian bottega, 
and French boutique, a shop ; but that 
is a perversion of the original sense ; 
which did not mean a store in which 
goods were kept for sale, but only for 
the private use of the owner. Com- 
pare Taberna. 

2. In a more special sense by the 
Romans, a store-room for wine in the 
upper part of the house (whence 
Horace, Od. iii. 21. 7. descende testa ; 
YWn.Ep. ii. 17. 13. Plin. H. N. xiv. 14. 
6. and 7.), where it was kept to ripen 
in amphorce, or, as we might say, " in 
bottle ; " whereas the new wine in 
dolia and cupce, or, according to our 
expression " in the wood," was placed 
below in the cella vinaria. [Cella.] 

APOTHEO'SIS [cnroOkioms). A 
word borrowed from the Greek lan- 
guage, but only used at a late period 
(Tertull. Apol 34.), for which the 
Latin term is Consecratio, which 
see. 

APPARITO'RES. A collective 
name given to the public officers 
attached to the service of the Roman 
magistrates, including the Accensi, 
Lictores, Pr^econes, Scribe, Via- 
tores, &c. Cic. Q. Fr. I. 1. 4. Suet. 
Tib. 11. 

2. In the army, the servants who 
waited upon the military tribunes. 
Hirt. B. Afr, 37. Lamprid. Alex. 
Sev. 52. 

AQUiEDUCTUS («fy>aywy«ojA. 
An aquedicct ; an artificial channel, 
frequently of many miles in length, 
for the purpose of conveying a pure 
stream of water from its source to 
any determinate point. (Cic. Att. xiii. 
6. Frontinus de Aquceduct) The 
illustration represents a portion of 
the aqueduct constructed by the em- 
peror Claudius, which is built of tra- 
vertine stone, and upon a single tier 
of arches ; but some aqueducts con- 
veyed as many as three separate 
streams in distinct channels, one 



above another ; and others were built 
with two or three tiers of arches, 




according to the nature of the sites 
over which they passed. The channel 
(specus), through which the water 
flowed, is seen uncovered at the top. 

AQUA'GIUM. A water course 
or stream of water which was com- 
mon property, and could only be 
diverted in small portions by the pro- 
prietors through whose lands it 
passed. Pomp. Dig. 43. 20. 3. 

AQUA'LIS. Any vessel which 
contains water for drinking ; a zuater 
can, or water jug. Plaut. Cure. ii. 3. 
33. Id. Mil. iii. 2. 39. 

2. The same as Matula (Varro, 
L. L. v. 119.) ; to which the joke 
contained in the passage of Plautus 
{Mil. iii. 2. 39.) probably alludes. 

AQUA'RIUS {v5po(p6pos). A 
water carrier. Cic. Pam. viii. 6. 



2. A slave employed in the baths, 
who brought in the water, poured it 




over the bather, and filled the labra, 
which latter duty is shown by the 



4 6 



AQUILA. 



ARA. 



figure in the illustration, copied from 
a fictile vase. These men were noted 
for their licentious habits. Juv. vi. 
332. compared with Festus, s. v. 

3. An officer at Rome attached to 
the service of the aqueducts, whose 
duty it was to see that not more than 
the quantity allowed by law to each in- 
dividual, or public establishment, w r as 
laid pn from the main. Front. Aq. 

AQUILA. The eagle, the prin- 
cipal ensign of the Roman legion 
(Plin. H. N. x. 5.), 
made of silver or 
bronze, and with ex- 
panded wings, as 
shown in the ex- 
ample, from an ori- 
ginal published by 
La Chausse {Recueil 
a" A ntiq. Romaines, 
v. 15.). The manner 
in which it was carried is shown by 
the illustration to the following word. 

2. (aleros, deros, derw^a). In archi- 
tecture the triangular face included 
by the horizontal and sloping cornices 
of a pediment, to which latter it 





formed, as it were, a support (sus- 
tineiitis fastigium aquilce. Tac. Hist. 
iii. 71.). The term is properly Greek 
(Pausan. i. 24. 5. Id. v. 10. 20.), and 
corresponds to the Latin Tympanum ; 
unless the latter word was employed 
when the part consisted of a mere 
naked face unadorned with sculpture ; 
and the former, when the surface was 
broken by bas-reliefs ; for the name 
originated in a very early Greek 
practice of carving an eagle in the 
pediment of a temple, especially of 
those which were dedicated to Jupi- 
ter, as in the example from a bas- 
relief of the Villa Mattei at Rome. 
In Etruscan or other edifices of araso- 
style construction, the aquila was 
formed of wood, in order to lighten 



The principal 



the pressure upon the architrave ; a 
circumstance which caused the con- 
flagration of the temple of Jupiter 
Capitolinus, when the Capitol was 
besieged by Vespasian. Tac. Hist. I. c. 

AQUIL'IFER. 
ensign of a Roman 
legion, who carried 
the eagle. (Caes. 
B. G. v. 37. Suet. 
Aug. 10.). There 
M as but one aquilifer 
to each legion, though 
there were many 
signiferi, or standard 
bearers. (Veget. Mil. 
ii. 13. Compare Tac. 
I Ann. i. 39. and 61.) 
The example is taken 
from the Column of 
Trajan, on which an 
ensign carrying the 
eagle is several times 
represented, with the 
skin of a wild beast 
over his head and back 
manner as here shown. 

AQUIMINA'RIUM, AQUIMI- 
NA'LE, or AQUtEMANA'LIS. A 
jug from which water was poured 
over the hands before and after meals. 
It was accompanied by a basin to 
receive the water as it fell from the 
hands, so that the two together would 
answer to our " basin and ewer." 
Varro, ap. Non. s. v. p. 547. Ulp. 
Dig. 34. 2. leg. 19. n. 12. 

ARA (9vtt)plov, /Soyxos). An altar ; 
i. e. any structure raised above the 
ground, either of turf, stones, brick, 
or sculptured marble, upon which 
the offerings made to the gods were 
placed or burned. Altars were either 
circular or square, with a cavity 




in the same 



»»»>» 




at the top, in which the fire w 



ARA. 



47 



kindled, and an orifice at the side 
or bottom, through which the libations 
of wine, or juices of the burnt offering, 
exuded. The cavity for the fire is 
shown at the top, and the orifice for 
the outflow of liquids at the bottom, of 
the right-hand figure in the cut, which 
is copied from a Pompeian painting ; 
the left-hand figure is from a fictile 
vase, and shows the liquid streaming 
out from a vent-hole placed higher 
up. These parts are essential to 
every altar, on which victims were 
burnt, or libations poured ; where 
they are wanting, though the marble 
bears a general resemblance to an 
altar, it is only a cippus, not an ara, 
a fact which archaeologists too often 
lose sight of. 

2. Altars were erected in the fol- 
lowing situations. In the lucus, or 
sacred grove, before the statue of the 
divinity to whom it was consecrated 
(Horn. 77. ii. 305.), as in the illus- 
tration from the arch of Trajan, in 
which the trees represent the sacred 




grove surrounding a statue of Diana, 
before which the altar is placed. 

3. On the steps under the entrance 
porch, or in front, of a temple ; as in 
the annexed engraving, which repre- 



sents the remains of the temple of 
Fortune at Pompeii, where the altar 




is seen at the bottom of the steps 
which lead up to the entrance door. 

4. In the streets of a town (Plaut. 
A ul. iv. i. 20. Id. Most. v. i. 45.), and 
against the walls of a house, in front 
of a picture or image of the Lares 
Viales : as in the annexed street view 
at Pompeii. The top compartment 
of the bas-relief above the altar con- 
tains the figures of two Lares, ex- 
actly similar to the one used as an 
illustration for that word ; and the 
two snakes below are a sign to warn 
the public against the commission of 




a "nuisance," as explained under 
Anguis. 

5. Lastly, thev were placed near 
or upon the impluvium of private 
houses ; and on these the family 
sacrifices were offered to the Penates. 
The engraving represents a resto- 
ration of part of the atrium in the 
house of the Dioscuri, at Pompeii, in 
which the impluvium is seen in the 
foreground, with the altar on its 
margin, traces of which were dis- 



iRA. 



ARA TOR. 




covered when 
made. 

6. Ara turicrema 
which, frankincense 



ration was 



An altar on 
was sprinkled 



and burnt. (Lucret. ii. 353. Virg. 
JEn. iv. 453.^ The illustration, from 
an ancient painting discovered at the 
foot of the Palatine hill, shows a 
female engaged in the duty of sprink- 
ling incense upon a bumin 
which, from its di- 
minutive size, ap- 
pears to have been 
intended solely for 
such offerings ; but 
the passages of Lu- 
cretius and Virgil, 
above referred to, 
seem to indicate 
that the epithet turi- 
crema was also ap- 
plied very generally 
to every kind of 
altar, because the 
incense was commonly used with all. 

7. Aj~<z sepulcri or ara funeris. The 
funeral pile upon which a dead body 





was burned (Virg. &n. vi. 177. Ov. 
Trist. iii. 13. 21.), so termed because 
it was built up of logs of wood in a 
square form, like an altar. The illus- 



-m 



(ration is from a bas-relief repre- 
senting the story of the Iliad, supposed 
to have been executed in the age of 
Nero, and represents the burning of 
Patroclus. 

ARACH'NE. A particular kind 
of sun-dial, which is naturally be- 
lieved to have received its name from 
a resemblance to the spider's web 
produced by the hour lines inter- 
secting the circles of the equator and 
tropics, described upon it ; but of 
which no ancient specimen has been 
discovered. Vitruv. ix. 8. 

ARJEOSTY'LOS [apatoarvkos). 
Arcsostyle ; applied to a building or 
colonnade in which the 
columns are situated at 
wide intervals, of not 
less than 3! or 4 of their 
own diameters apart 
from each other : as in 
the lowest line of the an- 
nexed diagram, which shows the re- 
lative width of the five different kinds 
of intercolumniations adopted by the 
ancients. The araeostyle construc- 
tion was particularly employed in the 
Tuscan order, and for localities fre- 
quented by a large concourse of 
people, in order not to occupy too 
much room by a multitude of columns. 
It required an architrave of wood, as 
stone or marble could not support a 
superincumbent weight upon supports 
placed so far apart. The colonnade 
surrounding the Forum of Pompeii is 
of this construction, in which vestiges 
of the wooden -architraves were found 
at the period when it was excavated. 
Vitruv. iii. 2. 

ARA'TOR (door/70). One who 
ploughs ; a ploughman (Plin. H. N. 




A RA TR UM. A RCA. 49 



xviii. 49. §2.). Also a ploughing 
ox, for the word is equally applied to 
animals (Ovid. Fast. i. 698.). Both 
are shown by the illustration, from a 
Roman bas-relief. 

2. A tenant farmer upon a large 
scale, who cultivated extensive tracts 
of the public lands for a tenth part of 
the produce ; generally persons of the 
equestrian order, and spoken of by 
Cicero as a useful and excellent class 
of men. Cic. Agr. ii. 31. 2. Verr. 
iii- 55- 

ARA'TRUM {dporpov). A plough. 
The plough most commonly repre- 
sented on ancient monuments is a 
very simple machine, consisting of 
the branch of an elm tree (whence 
aratrum curvum, Lucret. v. 931. Virg. 
G. i. 494. incurvum) either naturally or 
artificially bent into a crook (buris) at 
one end, which when sharpened to a 
point, and cased with iron, answered 
the purpose of a share {vomer) ; an- 
other branch growing out from the 
main one in a direction contrary to 
the crooked end, served for a plough 
tail (stiva) or handle to guide the 
machine, and press the share to a suffi- 
cient depth into the ground. The whole 
of these parts and details are distinctly 
shown by the preceding woodcut. 

2. The next illustration represents 
a plough of improved construction, 
from a bas-relief discovered in the 
island of Magnesia. With the ex- 
ception of not being furnished with a 
coulter, it possessed all the component 
parts enumerated by the Greek and 
Latin authors : viz. A A, buris (yvrjs), 
the plough-tail, the opposite end of 
which forms the pole (temo, ia-ro- 
(3otus) ; B, dentale (tXv/uia), the share- 




beam ; C, vomer (vvvis), the plough- 
share ; D is a truss which binds the 
share-beam more firmly to the pole 



and plough-tail, and which some 
archaeologists distinguish by the name 
fulcrum, but without quoting their 
authority ; EE, aures (-n-Ttpd), the 
earth 'boards ; F, stiva (i\(T\r)), the 
handle by which the ploughman 
directed the plough. 

3. The next example represents a 
wheeled plough (currus) from Caylus, 
which, besides the parts above enu- 
merated, is likewise furnished with a 




coulter (culter), like the blade of a 
knife, attached to the pole in front of 
the share. 

4. Aratrum auritum. A plough 
furnished with mould-boards. Pallad. 
i. 43. 1. Woodcut, No. 2. E E. 

5. Aratrum simplex. A plough 
without mould-boards. Pallad. /. c. 
Woodcut s. Abator. 

ARBUS'CUL^ (afJMlonoSes). 
Strong wooden collars, or rings 
fastened underneath a cart (plaustrum) 
or under an engine of war, for the 
purpose of receiving the axle, which 
revolved together with its wheels in 
these collars, in the same manner as 
now seen in a child's go-cart (Vitruv. 
x. 14. 1. Ginzrot, Wagen und Fahr- 
werke, i. 91. 3.). When the wheels 
revolved upon their axle, as was usual 
for carriages (currus), the axle was of 
course a fixture, and .arbusculce were 
not necessary. 

ARCA (icij3ioros). Any large and 




strong box or chest in which clothes, 
money, or any kind of property was 
D 



5° 



A RCA. 



ARCERA. 



kept (Cato, R. R. ii. 3. Cic. Parad. 
vi. I. Juv. xi. 26. Suet. Cal. 49.) ; a 
clothes trunk, money chest, &c. The 
example here introduced is a very 
remarkable specimen of a money 
chest, discovered in the atrium of a 
house at Pompeii; and which, with 
great apparent reason, is believed to 
have been a chest in which the 
quaestor kept the public moneys. It 
stands upon raised pedestals coated 
with marble ; the frame is of wood, 
lined inside with bronze, and plated 
outside with iron. It is described in 
detail in Gell's Pompeiana, vol. ii. pp. 
30-3L 

2. A common wooden box in which 
the remains of those people who could 
not afford the expense of a funeral 
and regular coffin were carried to the 
place of sepulture. Hor. Sat. i. 8. 9. 
Lucan. viii. 736. Gaii, Dig. ii. 7. 7. 

3. (\rfi'6s) A coffin in which a 
corpse was deposited entire, in the 
earth or in a tomb, when not reduced 
to ashes on the funeral pile (Plin. H. 



-■ mm 




N. xiii. 27. Val. Max. i. 1. 12.). The 
illustration shows the plan and eleva- 
tion of an original coffin of baked clay 
(Uggeri, Capo di Bove. pi. 19.). The 
shaded part in the plan is a raised sill 
for the head of the corpse, and the 
round hole in it is a cavity for re- 
ceiving aromatic balsams, which were 
poured in through a corresponding 
orifice seen on the side of the shell 
in the upper figure. The whole was 
covered by a lid. 

4. A dungeon cell in a private 
house where slaves were confined. 
Cic. Milo, 22. 

5. A wooden caisson, employed 
when laying foundations under water. 
It was a square box without top or 



bottom, sunk into the ground, from 
the interior of which the water was 
pumped out, the void being then filled 
in with stone or other materials, of 
which the foundation was composed. 
Vitruv. v. 12. 3. 

ARCA'RII. Officers who kept the 
accounts of the emperor's privy purse 
{Jiscus), whence they were termed 
Ccesariani ; their offices were situated 
in the Forum of Trajan. Lamprid. 
Alex. Sev. 43. Fragment, jur. ante 
Justinean. a Maio edita, p. 38. 

2. In private families, cashiers or 
servants who kept the accounts, and 
superintended the receipts and dis- 
bursements of their master's property. 
Inscript. ap. Grut. 641. 7. 8. Scsev. 
Dig. 40. 5. 41. 

AR'CERA. A close covered cart 
boarded all over, so as to resemble a 
large chest (area), which was used at 
Rome for the transport of invalids 
or aged and infirm persons, before 
the invention of litters and other 
more luxurious contrivances (Varro. 




L. L. v. 140.). The inmate reclined 
in it at full length, for which purpose 
it was furnished with cushions and 
pillows inside ; and the exterior was 
usually covered over with loose dra- 
pery to give it a more sightly ap- 
pearance, and conceal the rough 
boarding of which it was made (Gell. 
xx. I. 8.). The illustration is from a 
sepulchral marble preserved in the 
Museum at Baden, published by 
Ginzrot ( IVagen und Fahrwerke, 
tab. 19. 2.), and maybe regarded as 
the only known example of this pri- 
mitive conveyance, the great antiquity 
of which is authenticated by the men- 
tion of it in the Twelve Tables. (Gell. 



ARCHIMIMUS. 



ARCULUM. 



I. c.) The original also shows a 
bundle of drapery placed on the roof 
in a heap, intended to be spread over 
the whole carriage, as mentioned 
above. 

ARCHIMI'MUS (apxifii/Jios). The 
leader of a company of buffoons, who 
were engaged at funerals to dance and 
play the merry-andrew in the pro- 
cession, the leader of the party enact- 
ing a mock representation of the 
person and character of the deceased. 
Suet. Vesp. 19. See also Mimus, 2. 

ARCUA'RIUS. One who makes 
bows and arrows. Aur. Arc. Dig. 
50. 6. 6. Compare Veget. Mil. ii. 
II. 

ARCUA'TIO. A substruction of 
arches for the support of any super- 
structure, as a roadway, bridge, or 
aqueduct. Frontinus, 18. and 21. 

Cut of AQU/EDUCTUS. 

ARCU A'TU S. In general arched, 
or built upon arches. Plin. Ep. x. 
47. 2. See cut of Aqu^ductus. 

2. Arcuatus curnts. A two- 




wheeled carriage with an arched 
awning over head. (Liv. i. 21.) The 
example is from a painting in an 
Etruscan tomb, published by Micali 
(Italia avanti il Do?ninio dc* Romani). 

ARCUBALLIS'TA. An instru- 
ment for shooting arrows, combining 
the properties of the bow and ballista. 
The name points to a weapon in the 
nature of the modern cross-bow; but 
it is impossible to define it precisely, 
as the exact character of the Bal- 
lista is not sufficiently understood. 
Veget. Mil. ii. 15. 

ARCUBALLISTA'RIUS. One 
who manages the Arcuballista. Ve- 
get. Mil. iv. 21. 



AR'CULA (klBwtlov). Diminutive 
of Arca, in its general senses ; but 
also specially applied as follows : — 

1. A painter's colour box, divided 
into a number of separate compart- 
ments ; more espe- ^_ 

cially used by en- .. ~ V T^\ 

caustic painters, in .^j^Lj g* ^-^ Zyl 
which they kept [ □ * 

distinct the diffe- 
rent coloured waxes used in their 
art. (Varro, R. R. iii. 17. 4.) The 
illustration is from a Roman bas- 
relief, which represents Painting in- 
ducing M. Varro to illustrate his book 
with portraits. 

2. A small sepulchre or stone 
coffin, such as was used by the Chris- 
tianised Romans, and deposited in 
their catacombs, when the bodies 
were buried, without being burnt. 
(Inscript. ap. Grut. 1031. 4.) The 




illustration represents one of these 
coffins in the catacombs at Rome, a 
portion only being removed in the 
drawing to show the skeleton. 

ARCULA'RIUS. A maker of 
arculce, caskets, little boxes, jewel 
cases, &c. Plant. Aid. iii. 5. 45. 

AR'CULUM. A chaplet made 
from the branch of the pomegranate 
tree bent into a circle, and fastened 
at the ends by a fillet of white wool, 
which was worn by the Flaminica 
Dialis at all sacrifices, and on certain 
occasions likewise by the wife of the 
Rex sacrificulus. Serv. ad. Virg. AZn. 
iv. 137. 

2. Or Arculus. A porter 's knot; 
especially the linen cloth rolled up 
and twisted into a circle which the 
young women placed on the top 
of their heads in the same way as 
is still practised by the Italian pea- 
santry, as a support for the baskets 
(caueslrcc, a'sta-), which they carried 



5? 



ARC UMA . 



ARCUS. 



in the Panathenaic and other fes- 
tivals. (Festus, s. v.) 
This contrivance is 
frequently represented 
in sculpture upon figures 
carrying any sort of 
burden on their heads, 
such as the Canephorce, 
Caryatides, Telamoncs, of 
which latter the figure 
in the cut presents an 
example from the baths 
of Pompeii ; and is fre- 
quently mistaken for the 
modius, which it resembles indeed in 
appearance, but would be a most inap- 
propriate ornament for such a posi- 
tion. 

AR'CUMA. A small cart [plaus- 
trum) or truck, in which a single 
person could be conveyed. (Festus, 
s. 7>.) The illustration, from a se- 



tile vase ; the other, when unbent, 
had a circular form, like a bay {sinus\ 





pulchral bas-relief at Rome, agrees 
so precisely with the definition of 
Festus as to leave no doubt of its real 
name. 

ARCUS [fiios, to^ov). A bow for 
shooting arrows, the use of which 
amongst the Greeks was chiefly con- 
fined to the sports of the field and 
contests of skill, with some partial 
exceptions during the Homeric age 
(II. xii. 350.), after which it never 
appears as a military weapon. The 
Romans employed it in like manner 
as a hunting and fowling piece ; but 
it was never introduced into their 
armies, excepting by auxiliaries from 
countries where it was the national 
weapon. 

The Greek bows were constructed 
on two different plans ; the one con- 
sisting of two horns joined together 
by a straight stock in the centre, like 
the top figure in the cut, from a fic- 



as shown by the bottom figure, also 
from a fictile vase ; and when strung, 
was bent backwards against the 
curve, which must have given it tre- 
mendous power, and will explain the 
true meaning of Homer's epithet 7ra- 
Xivrovoi' {II. viii. 266.). The two 
forms are also distinguished by the 
Latin writers with the epithets pa- 
tirius (Ov. Met. viii. 30.), and sinu- 
osns or siniiatus (Id. Met. viii. 380. 
Am. i. 1. 23.). 

2. The Roman bow, as shown in 
their paintings, did not differ from 
the Greek one. 

3. Arms Scythicus. The Scythian 
bow mentioned by the Greek and 
Latin authors, possessed a very dif- 
ferent form from either of the two 
preceding examples, as will be per- 
ceived by the illustration copied 
from the base 
of a candela- 
brum m the 
Villa Albani, 
which repre- 
sents Hercules 
carrying off the 
sacred tripod 
from the temple 
of Apollo (see 
Hygin. Fab. 
32.). A bow 
of similar form 
is seen in the 
hands of Hercules on a gem in the 
Florence Gallery ; on one of the 
Stosch Cabinet ; and on the base of a 
candelabrum at Dresden, representing 




ARC US. 



53 



the same quarrel between Hercules 
and Apollo. 

The lunated figure in the first 
woodcut has often been cited by 
philologists as a specimen of the 
Scythian bow, but the following par- 
ticulars will satisfactorily prove that 
such a supposition is not supported 
by authority : — I. Hercules made 
use of two bows (Herod, iv. 10.) ; one 
of which, as he received it from 
Apollo (Apollodor. ii. 4. ri.), was 
necessai-ily a Greek one ; the other, 
which he had from Teutarus, a Scy- 
thian shepherd (Lycophr. 56. Tzetz. 
ad Lycophr. 50. Compare Theocr. Id. 
xiii. 55.), was necessarily one of those 
used by the natives of that country. 
2. Lycophron (917.) assimilates the 
Scythian bow to a serpent ; and 
Becker, in describing the figure on 
the candelabrum of Dresden {Augus- 
tenm, pi. 5.), singularly enough mis- 
takes it for a serpent, though the 
quiver at his side is clearly indica- 
tive of its real character. 3. Strabo 
(ii. p. 332. Siebenk. Compare Am- 
mian. xxii. 8. 5.) compares the out- 
line of the Pontus Euxinus to that 
of a Scythian bow ; one side, which 
is nearly straight, forming the chord ; 
the other, which, as he says, is re- 
cessed into two bays, one larger and 
more circular, the other smaller, and 
receding less, the bow itself. 4. 
Euripides (ap. A then. x. 80.) intro- 
duces a countryman who had seen 
the name of Theseus, which he could 
not read, somewhere inscribed, en- 
deavouring to explain the characters 
of which it was composed by some 
familiar image ; and he compares 
the fourth letter, the Greek Sigma, 
to a lock of hair twisted into curls 
like the tendrils of a vine, ^darpvxos 
eiXiy/dvos. 5. Whilst Agathon (ap. 
Athen. /. c), in relating the same 
story, makes his rustic assimilate the 
same letter to the form of a Scythian 
bow. 6. Now the earliest character 
used to express the Greek Sigma was 
written thus £, or thus as shown 
by the Sigean marbles, a monument 



of very high antiquity (Chishul. 
Inscr. Sig. p. 4. and 41.), and not 
like the letter C, which is a more 
modern form. 7. Thus the bow 
carried by the figure in our en- 
graving corresponds exactly with 
every one of the images to which 
the Scythian bow is compared — a 
serpent, the contour of the Euxine 
sea, the tendril of a parasitical plant, 
and the Greek Sigma ; whereas the 
lunated form has no affinity with 
any one of them, except indeed the 
letter C ; but if that were admitted, 
all the rest would be utterly inappro- 
priate. 

4. An arch, a mechanical arrange- 
ment by which tiles, bricks, or blocks 
of stone are disposed in the form of a 
curve, which enables them to support 
one another by their mutual pressure, 
and bear any superincumbent weight, 
such as a bridge, aqueduct, upper 
story of a building, \c. &c. Ovid. 
Met. iii. 169. Juv. Sat. iii. 11. 




Though the principle upon which 
an arch is constructed was not 
entirely unknown to the Greeks, yet 
their universal adoption of the co- 
lumnar style of architecture, and 
general deficiency of roads, aque- 
ducts, and bridges, rendered its use 
unnecessary to them ; but the Ro- 
mans employed it extensively in all 
their great works, as will be seen 
by numerous examples throughout 
these pages, and at a very early 
period, as shown by the illustration 
annexed, which is an elevation of the 
wall called the pulcrum littus on the 



54 



AREA. 



banks of the Tiber, and the three 
concentric arches which formed the 
Cloaca Maxima, a structure belong- 
ing to the fabulous age of the elder 
Tarquin. 

5. An archway, or triumphal arch 
(Suet. Claud. I., and with the epi- 
thet triumphalis, Cenotaph. Pisan. C. 
Ccesaris. August. F.). During the 
republican period these were tem- 
porary structures of wood thrown 
across a street through which a tri- 
umph passed, and removed after the 
show; for the permanent archways 
recorded under the republic (Liv. 
xxxiii. 27. Id. xxxvii. 3.) are termed 
fomices, and were not erected to com- 
memorate the honours of a triumph. 
(See Fornix.) But under the em- 
pire they were converted into per- 
manent edifices, built of marble, and 
erected in various parts of the city, 
as well at Rome as in the provincial 
towns ; small and unostentatious at 
first, with a single gang -way, but 

Ms 




subsequently increased in size, and 
elaborately covered with sculpture 
and statues, as in the illustration, 
which presents an elevation of the 
triumphal arch of Septimius Severus, 
now standing at Rome, to which the 
statues only on the top have been 
restored, as they originally existed, 
from the design on a medal of that 
emperor. 

A'REA. In its original sense, is 
used to designate any vacant plot of 
ground in a citv, affording a site for 
a building (Varro, L. L. v. 38. Hor. 
Epist. i. 10. 13.), and from that it is 
also transferred to the open space 
upon which a house that had been 



pulled down had formerly stood 
(Liv. iv. 16.) ; whence the following 
more special significations are de- 
duced : — - 

1. A large open space in a town, 
like the French place, the Italian 
piazza, and the English parade, left 
free and unencumbered by buildings 
for the exercise and recreation of the 
townspeople. (Vitruv. i. 7. 1. Hor. 
Od. i. 9. 18.) These areas were 
often embellished by statues and 
works of art ; sometimes surrounded 
by posts and rails to define their 
extent, and prevent private indivi- 
duals from building on the public 
property (Inscript. ap. Bellori, Fragm. 
Urb. Rom. p. 70.) ; and still further 
to preclude all attempts at encroach- 
ment or appropriation, they were 
consecrated to some deity who had 
his altar erected in the centre ; and 
hence they were distinguished from 
one another by the name of the deity 
under whose protection they were 




placed, as the area of Mercury, the 
area of Pollux, the area of Apollo, 
which latter is represented in the il- 
lustration from the ancient marble 
plan of Rome, now preserved in the 
Capitol, but which originally formed 
the pavement to the temple of Ro- 
mulus and Remus. The altar, as- 
cended on each side by a flight of 
steps, is seen in the centre ; the open 
space around is sufficiently apparent, 
and its extent may be guessed by 
completing the mutilated inscription, 
which was Area Apollinis. 

2. The open space of ground in 
front of a Roman house, temple, or 
other edifice, which forms the area 



AREA. 



ARENARIUS. 



55 



of the vestibule (Vestibulum, Plin. 
Paneg. 52. 3. Inscript. ap. Nardini, 




Rom. Ant. hi. 4.), as in the example 
(copied from an ancient painting, in 
which some of the principal edifices 
of Rome are depicted), where it lies 
between the two projecting wings in 
front of the building. 

3. An open space in front of a 
cemetery, around which the sepul- 
chres were ranged, and which served 
as an Ustrinum, where the funeral 









■TS 

Hi 

JP 


fit 
pi 


In? 

fi 
in 


1 1 


"0 




/r 


w 







pyre was raised, and the body burnt. 
(Stat. Theb. vi. 57. Tertull. ad 
Scapul. 3. Marini, Inscriz. Alb. p. 
118.) The illustration represents an 
area of this description, with the 
tombs built round it, which was ex- 
cavated in the Villa Corsini at Rome. 

4. (d\iorj. ) A threshing-floor; or 
more accurately a flat circular area in 
the open fields, paved with flints, and 
then covered over with clay or chalk, 
and levelled by the roller, in which 
the grains of corn were trodden out 
of the ear by cattle driven round it 
(Virg. G. i. 178. Hor. Sat. i. 1. 45. 
Cato, Columell. Pallad.), a mode 
of threshing commonly adopted in 
Egypt, Greece, and Italy, even at the 



present day, and clearly shown by the 
example from a painting in the 




Egyptian tombs. 

5. The square open space between 
the two wings of a "clap net " when 
they are spread on the ground, upon 
which the fowler sprinkled his seed 
to induce the birds to alight between 
them. Plaut. Asin. i. 3. 64. 

6. A bed or border in a flower or 
a kitchen garden. Columell. xi. 3. 1 3. 
Pallad. i. 34. 7. 

7. In Martial (x. 24. 9.), appa- 
rently used for the race-course in a 
circus, round which the chariots ran, 
more usually called spatiuM ; but the 
reading is doubtful. 

ARE'NA. The flat oval floor in 
the interior of an amphitheatre, where 
the wild beasts and gladiators fought, 
so called because it was sprinkled 
over with sand to prevent the feet 
from slipping (Suet. Nero, 53. Juv. 
Sat. iv. 100.) ; see the second wood- 
cut s. Amphitheatrum, which re- 
presents the amphitheatre at Pompeii, 
in its present state ; the arena is the 
flat space in the centre, where the 
two small figures are standing. 

ARENA'RIA or ARENA'RIUM. 
A sand-pit. Cic. Varro. Vitruv. 

ARENA'RIUS. A general term 
for any one who contended in the 
arena of an amphitheatre either 
against his fellow-men, or with wild 
beasts, including therefore the Gla- 
diator and Bestiarius. Pet. Sat. 
cxxvi. 6. 

2. A teacher of arithmetic or geo- 
metry, so called because he marked 



56 



AREOLA. 



ARMARIUM. 



out his calculations or diagrams 
upon a tray covered with sand. Ter- 
tull. Pall, 6. Abacus, i. 

ARE'OLA. Diminutive of Area ; 
a small open square or place (Plin. Ep. 
v. 6. 20.) ; a small bed for flowers or 
vegetable 5 !, &c. in a garden. Colu- 
mell. xi. 2. 30. 

ARETAL'OGUS. A personage 
introduced at dinner time amongst 
the Romans to amuse the company, 
but in what character or by what 
means is not clearly ascertained, per- 
haps as a sort of court jester or 
buffoon. Tuv. Sat. xv. 16. Ruperti 
ad I. Suet. Aug. 74. Casaub. ad I. 

ARGE'I. Certain sites in the 
city of Rome, twenty-seven in num- 
ber, with small chapels attached to 
them (Varro, Z. L. v. 45.), conse- 
crated by Numa for the performance 
of religious rites (Liv. i. 22.), and 
visited, it would appear, in succession 
(Ov. Fast. iii. 791. Aul. Gell. x. 16. 
4.), upon certain festivals, like the 
Stazioni of modern Italy. 

2. Images or Manikins, made of 
bulrushes, thirty in number, which 
were annually cast into the Tiber 
from the Sublician bridge, on the Ides 
of May, by the pontifices and V estals ; 
the origin and meaning of which 
custom are involved in obscurity. 
Varro, L. L. vii. 44. Ov. Fast. v. 
621. Festus. s. v. 

ARGENT A'RI A, sc. Taberna. 
A silversmith, banker, or money- 
changer's booth or shop, generally 
situated under the colonnade which 
surrounded the forum. Plaut. Epid. 
ii. 2. 17. Liv. xxvi. 27. 
* ARGENT A'RIUS. A private 
banker, as contradistinguished from 
the public banker (Mensarius) ; he 
received deposits, and allowed interest 
upon them, acted as a money-changer 
for foreigners, and attended public 
sales as a broker or commissioner, to 
bid for his employers. Cic. Ccecin. 6. 
Plaut. Aul. iii. 5. 54. Suet. Nero, 5. 

ARTES (icpios). A battering-ram ; 
an instrument composed of a powerful 
wooden beam, furnished at one extre- 



mity with a mass of iron moulded 
into the form of a ram's head, which 
was driven with violence against the 
walls of a fortified place, in order to 
effect a breach in them. Cic. Off. L 
11. Virg. ALu. xii. 706. 

In the primitive manner of using 
this instrument, it was carried by a 
number of men in their arms, and 
thrust, without any other assistance 
than their united energies, against the 
opposing walls (Vitruv. x. 13. 1.), in 
the same way as here employed by 
the Dacians, on the Column of Trajan. 




The next improvement was to sus- 
pend the ram from a beam placed 
upon uprights, by which means it 
was swung to and fro, with less 
manual labour, but much greater 
mechanical force (Vitruv. x. 13. 2.) ; 
and, lastly, it was fixed upon a frame 
which moved upon wheels, and was ' 
covered over by a shed and siding of I 
boards, to protect the soldiers who 




worked it from the missiles of the 
enemy (Vitruv. /. c), as here shown, 
from the triumphal arch of Septimius 
Severus. 

ARMA'RIUM. An armoire, 
cabinet, or cupboard, for keeping 
domestic utensils, clothes, money, 
curiosities, or any of the articles in 
daily use. It was a large piece of 



ARMENTARIUS. 



ARM ILL A. 



57 



furniture, usually fixed against the 
walls of a room, divided by shelves 




into compartments, and closed in front 
by doors. (Cic. Cluent. 64. Plaut. 
Capt. iv. 4. 10. Pet. Sat. xxix. 8. 
Plin. H. N. xxix. 32.) The example 
here given represents one of these 
cupboards exactly as described, 
which forms part of the furniture 
belonging to a shoemaker's room in a 
Pompeian painting. It is filled with 
lasts and boots. 

2. A book-case in a library ; also a 
sort of fixture, and sometimes let into 
the walls of a room. (Plin. Ep. ii. 
17. 8.) These were divided into a 
number of separate compartments by 
shelves and upright divisions, and 
each division was distinguished by a 
number, as the first, second, and third 
case. Vitruv. vii. Praf. 7. Vopisc. 
Tac. 8. 

ARMENTA'RIUS. A herdsman 
of any kind, who had the charge of a 
drove of oxen, for instance, or of brood 
mares (Appul. Met. vii. p. 142.), 
and under whose care and superintend- 
ence they were driven up from the 
plains into the mountains, and kept 
there at pasture during the hot 
months of summer. Lucret. vi. 1250. 
Varro, R. R. ii. 5. 18. Virg. G. iii. 
344- 

ARM ILL A tykWiov or ^t : \toi>). 
An armlet for men, consisting of 
three or four massive coils of gold 
or bronze, so as to cover a con- 
siderable portion of the arm (Fes- 
tus, s. v. Isidor. Orig. xix. 31. 
16.), generally worn by the Medes 
and Persians, and also by the Gauls 



(Claud. Quadrigar. ap. Gell. ix. 
13. 2.) as an ordinary part of their 
dress, and indi- r^=7^c^^- 
cation of rank 

and power. The M \ JjWj^W yf\ \ 
armlet belonged Jj'-HS ]H§ (f\\\\ 
likewise to the i iv;| [v| l/l 
national costume ^Ifl \lPm/l||//// 
of the early Sa- ^^^^^^^y 
bines (Li v. i. 11.); 

and was frequently given as a reward 
of valour to the Roman soldier who had 
distinguished himself, to be preserved 
as a record, or worn as a decoration 
upon solemn occasions. (Liv. x. 44.) 
The example here given is from a 
bronze original which was discovered 
in a tomb at Ripatransona upon the 
arm of a skeleton. 

2. {aptyidta, %/Wou', irtpiicapTTWv , 
TTiptatpvpiov). In a more general 
sense, any circle of gold, or orna- 
mental ring, which females, and, 
more especially, the women of Greece, 
wore upon various parts of their per- 
sons, round the wrists, on the fleshy 
part of the arm, or above the ankle, 
all of which fashions are exemplified 
in the annexed figure of Ariadne, 




from a Pompeian painting. The 
Greek language had an appropriate 
term for each of these ornaments ; 
but the Latin, which is not equally 
copious, includes all under the same 
name. (Plaut. Men. iii. 3. 3. Pet. 
Sat lxvii. 6.) Where they are 
ascribed to men, as in Pet. Sat. 
xxxii. 4. and Mart. Ep. xi. 21. 7., it 
is to ridicule in the first instance the 
vulgar ostentation of a parvenu, and 
in the latter to characterise a womanly 
effeminacy of manner. 



58 ARM ILL A TUS. 



ART0PTIC1US. 



3. An iron ring fastened upon the 
head of a beam, to prevent it from 
splitting. Vitruv. x. 2. II. 

ARMILLA'TUS. Wearing an 
armlet {armilla), an ornament espe- 
cially characteristic of the Asiatic and 
some other foreign races ; hence a 
notion of disparagement is commonly 
conveyed by the word, even when 
used with reference to those nations 
(Suet. Nero, 30.), and of severe cen- 
sure when applied to the Romans, as 
indicating an unmanly imitation of 
foreign customs. Suet. Cal. 52. 
Compare Armilla. 

2. Armillatus cam's. A dog with 
an armilla or collar round his neck, 




as in the example, from a mosaic at 
Pompeii. Propert. iv. 8. 24. 

ARMILLUM. A vessel for wine, 
which Varro {ap. Non. s. v. p. 547.) 
describes as a kind of uireolus, and 
Festus (s. v.) enumerates amongst 
the sacrificial vessels. It must, how- 
ever, have been in very common use, 
as may be inferred from the proverb 
anus ad amiillum (Lucil. Sat. p. 60. 
10. ed. Gerlach. Apul. Met. ix. p. 197.), 
which is said of persons when they 
recur to their accustomed tricks or 
habits, as " old women to their wine 
cups." 

ARQUITES. An old form from 
arquus, instead of arcus ; bozvmen, for 
whom the more usual name is Sagit- 
TARII. Festus, s. v. 

AR'TEMON (dprtuwv, N. T.). 
One of the sails on a ship, but which 
one, or where placed, is extremely 
doubtful. Isidorus [Orig. xix. 3. 3.) 
says, that it was used more for the 
purpose of assisting the steerage of 
a vessel than for accelerating her 



speed — dirigcndte potius navis causa, 
quam celeritatis — which would seem to 
indicate a sail attached to a low mast, 
slanting over the stern, like that 
which is frequently used in our 
fishing-boats, and in the small crafts 
of the Mediterranean, which the 
sailors there call the trinchetto. This 
is probably the true interpretation, 
for it distinguishes the sail by a par- 
ticular use and locality, entirely 
distinct from the various other sails 
of which the position and nature 
are sufficiently ascertained. Bay- 
fius, however {R. Nav. p. 121.), con- 
siders it to be the mainsail, which 
the Italians of his day called arte- 
mone ; and Scheffer {Mil. Nav. v. 2.) 
a topsail hoisted above the main- 
sail. 

2. The principal pulley in a system 
comprising several others {poly- 
spaston), which was attached to a 
contrivance for raising heavy weights. 
Vitruv. x. 2. 9. 

ARTOLA G'ANUS (aproXayavov). 
A very delicate and savoury kind of 
bread cake, flavoured with wine, 
milk, oil, and pepper. Athen. iii. 
79. Cic. Fam. ix. 20. Plin. H. N 
xviii. 27. 

ARTOFTA (dproTTT?]). A mould 
in which pastry and bread were 
sometimes baked. 
Plaut. A ul. ii. 9. 
4. Compare Juv. 
Sat. v. 72., but 
most of the com- 
mentators refer this passage to the 
person who made this kind of bread. 
The example represents two originals 
from Pompeii of the simplest kind, 
but others of more elaborate patterns 
have been found in the same citv. 

ARTOPTICTUS, sc. panis. A 
roll, cake, or small loaf of bread 
baked in a mould. (Plin. y^^x 
H. N. xviii. 27.) The |g jfer^ 
example is from an ori- ^^iM^ 
ginal, which was discovered with 
several others in a baker's shop at 
Pompeii, hardened but uninjured by 
the lapse of so many centuries. 




ARULA, 

A'RULA. Diminutive of Ara. 

ARUN'DO. A reed or cane ; a 
plant very generally used by the 
ancients in the manufacture of many 
articles for which the long, light, 
elastic, and tapering form of its stalk 
was peculiarly suitable ; whence the 
word is used both by prose writers 
and poets to designate the object 
formed out of it. (Plin. H. N. xvi. 
66. ) Of these the most important are 
as follows : — 

1. A bow, made of cane, particu- 
larly employed by the Parthians and 
Oriental races. Sil. Ital. x. 12. 

2. An arrow made of cane, em- 
ployed by the Egyptians and Oriental 



A R UNDO. 



59 



races, as well as the Greeks. (Virg. 
Mn. iv. 73. Ovid. Met. i. 471.) The 
example represents an original 
Egyptian arrow of this description. 

3. A fishing-rod made of cane, 
which is shown in the annexed en- 




graving from a painting at Pompeii. 
Plaut. Rud. ii. 1. 5. 6v. Met. xiii. 
923. 

4. A cane rod tipped with bird- 
lime, employed by the ancient fowlers 
for catching birds. The example 
here given is from a terra-cotta lamp, 
on which a fowler is represented 



going out for his spoi't, with this rod 
over his shoulder ; the call bird sits 





on one end of it, and a cage or a trap 
is suspended from the other. It was 
applied in the following manner. 
The sportsman first hung the cage 
with his call bird on the bough of a 
tree, under which, or at some conve- 
nient distance from it, he contrived 
to conceal himself, 
and when a bird, 
attracted by the 
singing of its com- 
panion, perched on 
the branches, he 
quietly inserted 
his rod amongst 
the boughs, until 
it reached his prey, which stuck to 
the lime, and was thus drawn to the 
ground. When the tree was very- 
high, or the fowler under the neces- 
sity of taking up his position at a 
distance from it, the rod was made 
in separate joints, like our fishing 
rods, so that he could gradually 
lengthen it out until it reached the 
object of his pursuit, whence it is 
termed arundo crescens or texta. 
(Mart. Ep. ix. 55. Id. xiv. 218. Sil. 
Ital. vii. 674-677. Pet. Sat. 109. 7. 
Bion, Id. 11. 5.) The last illustration 
is from an engraved gem, and shows 
the process clearly. 

5. A reed-pen, for writing upon 
paper or papyrus, one of which, by 




the side of an inkstand, is here repre- 
sented from a Pompeian painting. 



6o ARX. 

Pers. Sat. hi. n» Auson. Epist. vii. 
SO. . . 

6. A pandean pipe, which was 
made of several stalks of ffstqpasea 
the reed or cane, of un- ^^Jffj 
equal length and bore, 111 ITT? 
fastened together and ce- ISyl lfl 
mented with wax ; hence 1 1 
termed aruudo cerata Ml 
(Ovid. Met. xi. 154. Suet. Hj 
Jul. 32.), as shown by the example 
from a Pompeian marble. 

7. A rod employed in weaving, 
for the purpose of separating the 
threads of the warp 



{stamen) before the 
" leashes " {licia) were 
attached, and passed 
alternately in and out, 
before and behind 
each alternate thread, 
in order to separate 
the whole into two 
distinct parcels, which, 
when decussated, 




formed a <: shed " for the passage of 
the shuttle, as represented in the 
centre of the loom here engraved, 
which is copied from the Vatican 
Virgil. Ovid. Met. vi. 55., and 
consult Tela, Texo. 

8. A long cane with a sponge, or 
other appropriate material, affixed to 
the end of it, which thus served as a 
broom for sweeping and cleansing 
the ceilings of a room. Plaut. Stick. 
ii. 3. 23. Compare Mart. Ep. xii. 48. 
and the broom in the hands of the 

^DITUUS, S. V. 

9. A cane rod for measuring. 
Prudent. Psych. 826. 

10. A stick or cudgel made of 
cane. Pet. Sat. 134. 4. ; but this is 
probably the same as No. 8. 

ir. An espalier of canes for train- 
ing vines. Varro, R. R. i. 8. 2. 

ARX (dKpo7ro\ts). The fortress 
or citadel of an ancient town. These 
were always formed upon the top of 
a steep hill, or an abrupt and pre- 
cipitous rock, rising out of the 
general level of the plain upon which 
the habitable parts of the city were 



AS. 

built. They required, therefore, but 
little artificial fortification, in addition 
to the natural difficulties of the site, 
beyond that of a wall at the top, and of 
agate and tower to command the prin- 
cipal access. Many of these citadels 
are still to be traced in various parts 
of Greece and Italy, all of which are 
constructed in the manner described. 
They are not fortified upon any regu- 
lar plan, nor have they any precise 
shape, but merely follow the outline 
of the summit on which they stand. 
The illustration here inserted is from 




a sketch of the Acropolis at Athens, 
as it now remains, with some columns 
of the temple of Jupiter Olympius in 
the plain below, which will serve to 
convey a general notion of the com- 
mon appearance of these fortresses. 
Like the Arx of Rome, it contains 
the principal temples of the deities 
who presided over the city, which 
were placed within the enclosure for 
the sake of protection. 

2. Of the Arx at Rome no positive 
traces now . remain, the site upon 
which it formerly stood being en- 
tirely covered with modern buildings. 
It occupied, however, the most 
northern and lofty of the two 
summits into which the crown of the 
Capitoline hill was divided, facing 
towards the Via Flaminia and Mons 
Esquilinus, „ and upon a area of 
which the church of Ara-celi (sup- 
posed to be a corruption of Arce) 
now stands. Niebuhr, Hist. Rom. i. 
p. 502. transl. 

AS (from th, pronounced as by 
the Tarentines). A piece of money, 
which represented the unit of value 
in the Roman and early Italian coin- 



ASCA ULES. 



ASCI A. 



6r 



age. Originally it weighed one pound, 
hence called as libralis ; and was 




composed of a mixture of copper 
and tin (czs), hence also called as 
grave; but the value was much 
reduced in after times. In the age 
of Cicero, it was worth about three 
farthings of our money. In . its 
earliest state it bore the impress of a 
bull, ram, boar, or sow, emblematic 
of the flocks and herds ( peais, whence 
the word pecunia), which constitute 
the wealth of all primitive ages ; 
afterwards the more usual device was 
a double-headed Janus on one side 
with the prow of a vessel (see Se- 
MISSIS), or of Mercury, the god of 
traffic, on the other, as shown by the 
example introduced above, drawn 
one - third the size of the original, 
which weighs in its present state IO 
oz. 10 gr. 

ASCAU'LES {amcavXris). A word 
coined from the Greek, signifying 
a bag-piper. (Mart. 
Epigr. x. 3. 8.) 
These men are 
scarcely to be rec- 
koned amongst the 
class of professed 
musicians ; for the 
instrument that they 
played was peculiar 
to the peasantry and 
common people, as is 
clearly to be in- 
ferred from the pas- 
sage of Martial (/. c), 
and from the style 
and dress of the 
figure here introduced, which is 
copied from a small bronze figure 
formerly in the possession of Dr. 
Middleton, evidently intended to re- 
present a person of the lower classes. 




The ancient marbles and gems afford 
other specimens of the same subject. 

AS'CI A. The name given to 
several different implements em- 
ployed in separate trades, „ and for 
distinct purposes, all of which were 
classed under the same term, because 
they possessed a general resemblance 
in form, or the manner in which they 
were handled. They are as fol- 
lows : — 

I. (aic'kTrapvov). An instrument 
said to have been invented by Dae- 
dalus (Plin. H. N. vii. 57.), of com- 
mon use amongst all workers in 
wood, such as carpenters, wheel- 
wrights, shipwrights, &c. (XII. Tab. 
ap. Cic. Leg. ii. 23. Pet. Sat. 74. 16.), 
and corresponding in some respects 
with the adze or addice of our day ; 




but with these important distinctions 
— that it was Used for chopping sur- 
faces placed in an upright, instead of 
horizontal, position (see the illus- 
tration s. Ascio) ; had a shorter 
handle, so as to be used with one 
hand ; and was formed with a bluff 
head, like a hammer, at one extre- 
mity of the blade, whilst the opposite 
end, which formed the cutting edge, 
was slightly hollow, and curved over 
for the convenience of chopping into 
the hollow side of a piece of wood, 
or for scooping out flat surfaces, all 
which characteristics are distinctly 
shown by the example, which repre- 
sents two specimens, slightly dif- 
fering from one another, both copied 
from sepulchral marbles. 

2. (tvkos and ry%os). An instrument 
of nearly similar 
form, employed 
by masons and 
builders, to which allusion is often made 
in sepulchral inscriptions. It had a 



62 AS CIO. 

hammer at one end, and a blade, like 
a bird's bill, at the other (Aristoph. 
Av. 1 138. Schol. ad /.), as seen in 
the illustration, which is copied from 
an original, found, with several other 
building implements, at Pompeii. 

3. An instrument used by brick- 
layers for chopping lime and mixing 
mortar (Vitruv. vii. 7. Pallad. i. 14.), 
as in the example from Trajan's 
Column, which represents part of a 




figure employed in the process de- 
scribed. 

4. A short-handled hoe, used by 
gardeners, agricultural labourers, &c, 
for breaking up 

the ground, ex- /Sft L-^, 

cavating earth, )MfP^^~^^^2g5 
and similar pur- [, \ 
poses. (Pallad. \i \ 
i. 43.) The il- 
lustration is from the Column of 
Trajan, and resembles both in use 
and form the zappa, or short hoe of 
the modern Italian peasant. 

AS'CIO (<7Kf7rapj'j^w). When ap- 
plied to wood - workers, to chop, 




form, or fashion with a carpenter's 



ASPERSIO. 

adze (ascw), an operation which the 
ancients performed with one hand, 
and upon surfaces placed in an 
upright position, as shown by the 
cut, which represents one of the 
workmen of Daedalus employed in 
this manner, from a bas-relief of the 
Villa Albani. 

2. When applied to builders, to 
stir up and mix mortar with a plas- 
terer's hoe, as in the illustration to 
Ascia, No. 3. 

ASCOPE'RA (uaicoTriipa). A 
large bag, or knapsack, made of un- 




dressed leather, in which foot - tra- 
vellers carried their necessaries, as 
contradistinguished from hippopera, 
the horseman's saddlebags. (Suet. 
Nero, 45.) The illustration is se- 
lected from an ancient fresco paint- 
ing, representing a landscape scene. 

ASINA'RIUS. A farm servant 
who had the charge of feeding, 
driving, and tending the asses be- 
longing to the farm. Varro, R. R. 
i. 18. 1. 

ASPERGIL'LUM {irtpippavri^ 
pior). See the next word. 

ASPER'SIO {TTtpippavms). Ast. 
ad. Theophrast. xvi. p. 143. The act 
of sprinkling with water, as a purifi- 
cation, before making sacrifice to the 
gods below (Cic. Leg. ii. 10. Com- 
pare Ov. Last. v. 679. Virg. ALn. iv. 
635. 1 ) ; whereas the whole body, or 
the hands and face, were immersed 
previous to a sacrifice offered to the 
gods above. (Broiier, de Adorat. cap. 
12.) This ceremony was performed 



ASSER. 



ASSERCULUM. 



63 



either with a branch of laurel ; as in 
the example from a medal, which re- 




under a thong [lorum, struppis) at- 
tached to these shafts, like the back- 



presents Lucilla, the daughter of M. 
Aurelius, breaking off a branch to 
sprinkle the young children, whilst a 
priestess is drawing water from the 
river ; or with a whisk made expressly 
for the purpose, as in the annexed 




engraving, also from a medal, and 
which the Greeks termed irtpippay- 
rrjpinv or pavTiarpov. The corre- 
sponding Latin term is unknown ; for 
the word aspergillum, employed by 
modern philologists, is not supported 
by any ancient authority. 

ASSER. In general, a small 
wooden beam, pole or post fixed in 
or upon anything (Liv. Caes. Tac. ) ; 
whence the following more special 
meanings are deduced : — 

I. The pole by which a palanquin 
{lectica) was carried on the shoulders 
of its bearers. (Suet. Col. 58. Juv. 
iii. 245. Id. vii. 132. Mart. ix. 23. 9.) 
It was entirely separate from the con- 
veyance, and must not be confounded 
with the shafts (amites), which were 
permanently affixed to the body of the 
carriage, or at least only removable 
upon occasion. The asser was passed 




baud in single harness, and then 
raised upon the shoulders of the 
bearers (lecticarii), so that the whole 
weight of the carriage was sus- 
pended upon it. The subjoined en- 
graving, which represents a Chinese 
sedan, from Staunton, will make the 
matter perfectly clear, in the absence 
of any known ancient example. It is 
assumed to coincide with the Roman 
model, from the light it throws upon 
the different terms employed in con- 
nection with these conveyances, and 
the simple and natural explanation it 
affords upon those points which 
scholars have failed to reconcile ; 
besides that a moment's reflection 
will convince any one that a sedan 
could not be carried by six or eight 
men, as was frequently the case 
(hexap/ioros, octaphoros), by any de- 
vice so convenient as the one de- 
picted. 

2. An iron-headed beam suspended 
and worked like a ram on board ship, 
to damage the enemy's rigging. 
Veget. Mil. iv. 44. 

3. Asser falcatus. A long pole, 
with a sharp and crooked iron head, 
used in sieges to mow down the gar- 
rison on the walls. Liv. xxxviii. 5. 

4. Asseres. In architecture, the 
common rafters of a timber roof, over 
which the tiles are laid ; marked h h 
in the plan which illustrates the word 
Materiatio. Externally they are 
represented by the ornaments called 
dentils (Denticulus, 2.) in Ionic 
and Corinthian elevations. Vitruv. 
iv. 2. I. and 5. 

ASSER'CULUM and ASSER'- 



6 4 



ASS IS. 



ASTRAGALUS. 



CULUS. Diminutive of Asser ; any 
small pole or stake, and so used for 
a broom-handle. Cato, R. R. 152. 
Woodcut, s. /Edituus. 

ASSIS (aavis). A flat board or 
plank. Cses. Plin. Columell. Vitruv. 

2. A valve in a water-pipe, or 
water-cock, by the turning of which 
the liquid is drawn _^ 
off from, Or re- _gr^^^^^ 
tained in, the pipe. 
(Vitruv. x. 7. I.) 
The example re- "^r ^. _ - g^-^- 
presents an original 
bronze cock, discovered in the island 
of Capri ; the contrivance for turning 
the valve is distinctly apparent at the 
top. 

ASSUS. Literally roasted ; hence, 
in the neuter gender, assum ; a cham- 
ber in a set of baths heated with 
warm air, with the object of pro- 
moting violent perspiration. Cic. Q. 
Fr. iii. 1. 1. See Sudatto, Suda- 
torium. 

2. Assa tibia. A solo on the pipe, 
without any vocal accompaniment. 
Serv. ad Virg. G. ii. 417. 

3. Assa nutrix. A dry nurse. 
Schol. Vet. ad Juv. Sat. xiv. 208. 

4. Assi lapides. Stones laid with- 
out mortar (Serv. ad Virg. G. ii. 
417.), in which way the finest of the 
Greek and Roman buildings were 
constructed. 

ASTRAGALIZONTES {darpaya- 
\i^ovres). A Greek name used to 
designate persons engaged ,gw_~. 
in playing with the knuckle- C^^^^S 
bones of animals (darpa- i*^^^^m 
yd\ot, Latin Tali), one of 
which is here shown from an original 
of bronze, a very favourite subject 
with the sculptors and painters of 
Greece. (Piin. H. N. xxxiv. 19. 
§ 2. Pausan. x. 30. 1.) Both sexes 
amused themselves in this way, and 
employed the knuckle - bones for 
many different games ; but the sim- 
plest and commonest, which appears 
to be represented in the annexed 
engraving, from a Greek painting 
discovered at Resina, . resembled what 



our school-boys call "dibs," and 
consisted merely in throwing the 




bones up into the air, and catching 
them again on the back of the hand 
as they fall down. In many others, 
which were purely gambling games, 
the bones were marked with numbers, 
and used as dice. Jul. Poll. ix. 
100-104. Eust. Od. i. p. 1397. 34. sq. 
and -Talus. 

ASTRAGALUS {darpdyaXos). 
The Greek name for one of the ver- 
tebral bones, the ball of the ankle-joint 
and the knuckle- bone of animals, 
which was used instead of dice for 
games of chance and skill, but is not 
employed in any of these senses by 
the Latin writers. 

2. By the Roman architects, an 
astragal ; a small moulding of semi- 
circular profile, so termed by the 
ancients from a certain resemblance 
which it bears, in its alternation of 
round and angular forms, to a row of 
knuckle-bones (dcrrpdyaXos, and last 
cut but one), placed side by side ; 
and called a bead or baguette by the 
moderns, because it closely resembles 
a string of beads or berries. It is 





: M XHK M ) 




PIC XfiC MK K * 



more especially characteristic of the 
Ionic order, in wdiich it is employed 
to form the lowermost member of the 
capital immediately under the echi- 
nus, to divide the faces of an archi- 
trave, or in the base, where it is a 



ASTURCO. 

plain moulding, similar to the torus, 
but of smaller dimensions. (Vitruv. iv. 
I. II. Id. iii. 4. 7. Id. iii. 5. 3.) 
The first of the two specimens here 
given is from a capital of the temple 
of Apollo, near Miletus ; the lower 
one from the temple of Minerva at 
Priene. 

ASTUR'CO. A small horse of 
the Spanish Asturian breed ; highly 
valued by the Romans on account of 
its showy action and easy paces. 
Plin. H. N. viii. 67. Mart. xiv. 199. 

ATHLETE (ae\i VOl ). A gene- 
ral name for the combatants who con- 
tended for a prize (dOXov), in the 
public games of Greece and Italy ; of 
whom there were five kinds, each dis- 
tinguished by an appropriate name, 
viz., Cursor, Luctator, Pugil, 

QUINQUERTIO, PANCRATIASTES. 

ATLANTES CArXavrts). Pro- 
perly a Greek term (to which the 
Latin Telamones corresponds), used 
to designate human figures, when em- 
ployed as architectural supports to 
an entablature or cornice, instead of 
columns, and so termed in allusion to 
the story of Atlas, who bore the 
heavens on his shoulders. (Vitruv. 
vi. 10.) One of these figures is 
given under Arculus, from a speci- 
men at Pompeii. 

ATRAMENTA'RIUM (jueW- 
di>X>l)- A vessel for holding atra- 
mentum, a black liquid employed for 
various purposes, as varnish, by 
painters (Plin. H. N. xxxv. 36. n. 
18.) ; by shoemakers for dyeing 
their leather (Plin. H. N. xxxiv. 
32.) ; and also for writing ink (Cic. 
Q. Fr. ii. 15.), in reference to which 
last use the term answers to our 
ink -stand (Gloss. Philox. Vulgat. 
Ezech. ix. 2.), one of which is shown 
in Arundo 5. 

ATRIEN'SIS. A domestic slave, 
or one who belonged to the familia ur- 
bana in all the great Roman houses, to 
whose especial charge the care of the 
Atrium was committed. He occupied 
a position not unlike that of maltre 
d'hbtel in the present day ; for he exer- 



ATRIUM. 65 

cised a control over all the other slaves 
of the household, took charge of the 
busts, statues, and valuables exposed in 
the atrium, set out and arranged the 
furniture, and saw that it was kept 
clean, and nothing damaged. Plaut. 
Asin. passim, and especially Act. ii. 
Sc. 2. and 4. Cic. Farad, v. 2. 

ATRI'OLUM. Diminutive of 
Atrium, and thus, in a general sense, 
any small atrium ; but the word has 
also a more special application, and 
designates a distinct member in the 
large Roman palaces, which might be 
styled the second or back atrium ; for 
it was disposed with sleeping rooms 
and other members all round it, 
similar to those of the principal one, 
from which it chiefly differed in size, 
and perhaps in splendour. Cic. Q. 
Fr. iii. II. Id. Att. i. 10. 

ATRIUM. A large apartment, 
constituting the first of the two prin- 
cipal parts into which the ground- 
plan of a Roman house was divided. 
It was approached directly from the 
entrance hall or passage {prothyrtim), 
and in early times served the family 
as the common place of reunion, or 
public room of the house, in which 
the women worked at their looms, 
the family statues and ancestral 
images were displayed, the household 
gods and their altar, as well as the 
kitchen hearth {focus), were situated. 
Its relative position with regard to the 
rest of the mansion is shown in the 
two first ground -plans which illus- 
trate the word Domus, on which it is 
marked B. 

As regards the internal structure, 
it consisted of a rectangular apart- 
ment, the sides of which were covered 
over with a roof, having in most cases 
an aperture in the centre (complu- 
vium), and a corresponding basin in 
the floor {impluvium), to receive the 
rain water which flowed in through the 
opening (see the next woodcut). The 
roof itself was frequently supported 
upon columns, which thus formed a 
colonnade or open cloister round its 
sides (see woodcut No. 3.). But as 
E 



66 



A TRIUM. 



the roof was constructed and sup- 
ported in several different ways, 
each of which gave a different char- 
acter to the interior, these varieties 
were classed under the following 
separate names, to distinguish the 
different styles adopted in their con- 
struction : — 

I. Atrium Tuscanicum. The Tus- 
can atrium ; the simplest and pro- 
bably most ancient of all, which 
was adopted at Rome from the 
Etruscans, and could only be em- 
ployed for an apartment of small 
dimensions. Its peculiarity consisted 
in not having any columns to support 
the roof, which ran round its sides, 
and was carried upon two beams 
placed lengthwise from wall to wall, 
into which two shorter ones were 
mortised at equal distances from the 
wall, so as to form a square opening 




in the centre between them (Vitruv. 
i. 6. 2.), as seen in the engraving 
above, which presents a restoration 
of the Etruscan atrium to the house 
of Sallust at Pompeii. 

2. Atrium Tetrastylum. The te- 




trastyle atrium, so termed because 
its roof was supported upon four 
columns, one at each angle of the 
impluvium. The illustration affords 
a specimen of this style from a house 
at Pompeii, excavated by General 
Championet ; from the preceding 
example, it is easy to imagine, a 
restoration of the roof, which, when 
it rests upon the four columns, will 
form a covered gallery round the 
sides of the room, with an opening in 
the centre between them, similar to 
the one there shown, but with the 
decoration of a column at each of its 
corners. 

3. Atrium Corinthium. The Co- 
rinthian atrium, which was of the 
same description as the last, but of 
greater size and magnificence, inas- 
much as the columns which supported 




its roof were more numerous, and 
placed at a distance back from the 
impluvium. The central part was 
also open to the sky, as in the ex- 
ample, from a Corinthian atrium at 
Pompeii, restored after the pattern of 
a house which was discovered with 
its upper story entire at Herculaneum, 
and an elevation of which is intro- 
duced in the article Domus. In this 
style of construction, one end of 
every beam which bore the roof, and 
formed a ceiling to the colonnade 
round the room, rested upon the head 
of each column, the other one upon 
the side wall, instead of being placed 
parallel to it, as in the Tuscan and 
tetrastyle ; they are thus arranged at 



A TTEGIA. 



A UGUR, 



07 




right angles to the walls, or in other 
words, recede from them, which is 
what is meant by the expression of 
Vitruvius, a parictibus recedunt. 

4. Atrium displiiviatum. An 
atrium, the roof of which was formed 
in a shelving di- 
rection, with the 
slant turned out- 
wards from the 
comphtvuim, in- 
stead of towards 
it, and which, 
therefore, shot off 
the water from 
the house into gutters on the outside, 
instead of conducting it into the im- 
pluviu??i, as in the three preceding 
instances. Such a plan of construc- 
tion is clearly shown in the diagram 
annexed, from the marble plan of 
Rome, where the opening in the cen- 
tre and the outward shelve of the roof 
is very cleverly expressed 

5. Atrium testudi?iatu?n. The tes- 
tudinated or covered atrium, which 
had no compluvium, the 
whole apartment being 
entirely covered over 
by a roof of the kind 
termed testudo (Vitruv. 
v. 1.), which is also 
cleverly expressed by 
the artist who executed 
the marble plan of 
Rome, from which the illustration is 
selected. It is probable that an 
atrium of this description consisted of 
two stories, and that it received its 
light from windows in the upper one. 
Compare also Cavaedium. 

ATTEG'IA. A Moorish hut or 
wigwam made of reeds and thatch. 
Juv. Sat. xiv. 196. 

AUCEPS {l&VTiris, dpviOtvrris). In 
a general sense, a fowler or any 
person who amuses himself with the 
sport of snaring, netting, and killing 
birds ; but in a more special sense, 
a slave belonging to the familia 
rustica, something like our ' ; game- 
keeper," whose employment consisted 
in taking and selling game for the profit 





of his owner ; the principal sources of 
income on some estates 
being derived from the 
produce of the woods 
and fisheries. (Ov. A, 
Am. iii. 669. Plaut. 
Trin. ii. 4. 7. Pignorius 
de Serv. p. 560.) The 
illustration, from a small 
marble statue at Naples, 
represents one of these 
fowlers returning with 
his game. He wears 
a sportsman's hat and 
boots, a tunic and cloak of skin with 
the fur on, carries a hunting knife in 
his right hand, two doves slung to the 
girdle round his waist, a hare on his 
left arm, and the end of the noose in 
which it was caught appears between 
the fingers. The instruments em- 
ployed by the ancient fowlers in the 
pursuit of their sport were gins and 
snares (laqtiei, pedicce), a rod tipped 
with bird lime (arundo, calamus), traps 
{traiisenna*), clap-nets {amites), a call- 
bird (avis illex), and cage for the same 
(caved) ; the manner of using all 
which is described, and illustrated 
under each head. 

AUDITO'RIUM. Any place in 
which orators, poets, and authors 
generally, assembled an audience to 
hear their compositions recited. 
Quint, ii. II. 3. Id. x. i. 36. 

2. A lecture-room, in which philo- 
sophers and professors delivered their 
lectures. Suet. Tib. 11. 

3. A court of justice where trials 
were heard. Paul. Dig. 49. 9. I. 
Ulp. Dig. 4. 4. 18. 

4. Auditorium Priucipis. The 
court or chamber in which the em- 
peror sat to hear and decide causes. 
Paul. Dig. 42. 1. 54. 

AUGUR (otwi'0(T(co7ros). An 
augur, a Roman priest, who inter- 
preted the will of the gods, or re- 
vealed future events from observa- 
tions taken on the flight and singing 
of birds. (Liv. i. 36. Cic. Div. i. 
17.) They were formed into a 
college or corporation ; and are 



68 



AUGUR ALE. 



A ULJEA. 




principally distinguished from other 
classes of the priesthood, 
on coins and medals, by 
a crooked wand (lituus), 
like a crozier, which 
they carried in the right 
hand, and sometimes with 
the sacred bird, and the 
waterjug (capis) by their 
side or on the reverse. 
The example is from a 
medal of Marcus Anto- 
ninus. 

AUGURA'LE. A space on the 
right side of the general's tent {pree- 
torium) in a Roman camp, where the 
auspices were taken. Tac. Ann. xv. 
30. Compare Quint, viii. 2. 8. 

AUGUSTA'LES. An order of 
priests instituted by Augustus, and 
selected from the class of freed-men, 
whose duty it was to superintend the 
religious ceremonies connected with 
the worship of the Lares Compi- 
tales, deities who presided over the 
cross roads, to whom it was customary 
to erect a shrine at the spot where 
these roads met. Pet. Sat. 30. 2. 
Orelli, Inscr. 3959. Scholj Vet. ad 
Hor. Sat. ii. 3. 281. 

2. Sodales Augustales, or simply 
Augustales. An order of priests in- 
stituted by Tiberius, to superintend 
the divine honours paid to Augustus 
and the Julian family. The body 
consisted of twenty-one persons se- 
lected from the principal Roman 
families. Tac. A)in. i. 15. and 54. 
Reines. Inscr. i. 12. « 

AULA (auXifj). Properly a Greek 
word, which in early times designated 
an open court or court-yard in front 
of a house, around which the stables, 
stalls for cattle, and farming out- 
houses were situated ; hence the 
Roman poets adopted the word to 
express a dog-kennel (Grat. Cyneg. 
167.), a sheep pen (Prop. iii. 2. 39), 
or a den for wild animals. Pet. Sat. 
119. 17- 

2. Subsequently to the age of 
Homer, the Greek aula was an open 
peristyle in the interior of a house, 



of which there were two in every 
mansion (Vitruv. vi. 7. 5.) ; one 
round which the mens apartments 
were disposed, and the other for the 
exclusive use of the females. In 
other respects, they corresponded in 
general arrangement and distribution 
to the atrium and peristylium of a 
Roman house : see the plan of the 
Greek house s. v. Domus, on which the 
two aulce are marked respectively C 
and E. In allusion to this sense of 
the word, Virgil uses it for the cell of 
the queen bee. SE11, iii. 353. 

3. Aula regia. The central por- 
tion of the scene in the Greek and 
Roman theatres, especially for tragic 
performances, representing a noble 
mansion (Vitruv. v. 6. 8.), near or in 
which the action was supposed to 
take place. The illustration repre- 
sents a view of the great theatre at 
Pompeii, with the scene at the 




further end, from which the general 
character of this part of the building 
may be readily imagined, though the 
whole of its upper portion has de- 
cayed. 

4. An old form of spelling (Cato, 
R. R. 85.) for Olla, which see. 

AULiE'A or AUL^'UM 
(aiiXaia). A piece of tapestry or arras 
hangings used to decorate the walls of 
a dining-room (Hor. Sat. ii. 8. 54.), or 
as a screen against the sun between 
the pillars of a colonnade (Prop, ii. 
32. 12.), or to close in the open 
galleries round an atrium ox peristy- 
lium of private houses, as shown in the 
elevation of the Herculanean house 
(s. v. Domus), in which the rods and 
rings for suspending them were found 



A ULsEA. 



AUREUS. 



6 9 



in their places, when the excavation 
was made. In the illustration, from 
a bas-relief in the British Museum, 




the aulceum forms the background to 
a tricliniary chamber ; and similar 
ones are of very common occurrence 
both in sculpture and paintings, 
where they are introduced by the 
artist as a conventional sign to indicate 
that the scene in which they appear 
is not laid in the open air, but takes 
place in an interior. 

2. A large coverlet of tapestry or 
embroidered work, which it was cus- 
tomary to spread over the mattress of 
a sofa or dining couch (Virg. sEn. i. 
697.), and which hung down to the 
ground all round it ; whence also 




termed Peristroma. It is seen in the 
preceding woodcut, but more dis- 
tinctly in the annexed one from the 
Vatican Virgil. 

3, A piece of tapestry, or curtain 
ornamented with figures embroi- 
dered on it (Virg. G. iii. 25.), em- 
ployed in the Greek and Roman 
theatres, for the same purpose as our 
drop-scene, to conceal the stage before 
the commencement of the play, and 



between the acts. This curtain, how- 
ever, was not suspended like ours, 
and let down from above ; but, on the 




contrary, was rolled round a cy- 
linder let into a recess in the brick- 
work fronting the stage, as is clearly 
seen on the left hand of the annexed en- 
graving, which represents a perspec- 
tive view of the small theatre at Pom- 
peii looking across the stage, and the 
orchestra which lies on the right hand. 
When the play commenced, the curtain 
was let down, and consequently after 
an act it was drawn vp (Ovid. Met. iii. 
111-114.); whence the 'expression 
aulcea prenmntur (Hor. Epist. ii. 1. 
189. Compare Apul. Met. x. p. 232.), 
" the drop scene is let down," implies 
that the play is about to commence ; 
and ctulcea tolluntur (Ov. Met. I. c), 
" the scene is raised up," that the act 
or play was ended. 

AULCE'DUS {ai\tp86s). One who 
sings to the accompaniment of a flute 
or pipe. Cic. Mtir. 13. 

AURES. The earth or mould 
boards of a plough, placed on each 
side of the share-beam, and inclining 
outwards, in order to throw off the 
earth turned up by the share into a 
ridge on each side of the furrow. 
(Virg. G. i. 172.) They are shown 
in the engraving s. v. Aratkum 2. by 
the letters E E. 

AU'REUS. Called also numnius 
aureus, or denarius aureus ; a 
guilder, or golden denarius, the stand- 
ard gold coin of the Romans, which 
passed for twenty-five dth-arll, or 
ijs. S^d. ; but the intrinsic value, as 
compared with our gold coinage at 



70 



AURIGA. 



the present day, would nearly equal 
il. is. lid. (Plin. H. N. xxxiii. 13. 




Suet. G?/. 42. Id. Dom. 8. Hussey 
on ancient Weights and Money.) The 
illustration is from an original in its 
actual state. 

AURI'GA (y'jnoxos). In general 
any person who acted as a coachman 
or charioteer, as shown by the ex- 
ample from a terra-cotta bas-relief. 




Virg. AZn. xii. 624. Ovid. Met. ii. 327. 

2. But, more especially, the driver 
of a racing car in the Circus at the 
Circensian games. 
(Suet. Cal. 54.) 
The example here 
given is from a 
statue in the Vati- 
can, which, if com- 
pared with the next 
illustration, will af- 
ford a perfect notion 
of the costume worn 
by these drivers. 
The palm branch 
in the right hand is 
the emblem of vic- 
tory ; the purse 
in the left contains the sum of money 
which formed the prize. The man- 
ner in which these men drove was 
peculiar, and differed materially from 




the ordinary style, shown in the first 
cut, as will be perceived by the 
annexed example, which is copied 




from a consular diptych ; and as the 
I original is the work of a late period, 
; when the arts were at a low ebb, it is 
! to be regarded as a more faithful 
representation of the actual truth un- 
. adorned by any attempt.- at artistic 
effect or ideal portraiture. The 
I driver here passes the reins round 
his bach, or actually stands within 
them ; the object of which was to 
give him more command over his 
horses, by leaning his whole weight 
back against the reins, and to prevent 
the chance of their falling from his 
hands in case of any sudden shock or 
collision. But as tins practice ex- 
posed him to the danger of being 
dragged in his reins in case of an 
upset, he carried a crooked knife 
fixed to the thongs which braced his 
body, as seen in front of the left side 
in the preceding figure, in order to 
cut them on the emergency. The 
last example also shows the skull cap 
w hich he wore on his head, as well as 
the bandages round the legs, and on 
the back of the hands ; the horses' legs 
are also bandaged, their tails are tied 
up, their manes are hogged, and a 
mask is placed over the front of their 
faces. 

3. By poets the word is also ap- 
plied, less specially, for a groom who 
brought out a carriage or war car, 
and stood at the horses' heads till the 
driver mounted (Virg. xii. 85.) ; 

for a helmsman (Ovid. Trist. i. 4. 
16.) ; and generally for a horseman 
or rider. (Auct. Paneg. ad Pison. 
490 



AURIGARIUS. 



AXICIA. 



AURIGA'RIUS. Same as 
Auriga. Suet. Nero, 5. 

AURIGA'TOR. Same as Auriga. 
Inscript. ap. Grut. 340. 3. 

AURI'GO and AURI'GOR. To 
drive a chariot in the races of the 
Circus, as described under Auriga. 
Suet. Nero, 24. Plin. H. N. xxxiii. 
27. 

AURISCALP'IUM (dt-oyXv^is). 
An ear-pick (Mart. Ep. xiv. 23.) ; 

-^Z^ 

also a surgeon's probe for the ear. 
(Scribon. Compos. 230.) The ex- 
ample represents an original found at 
Pompeii. 

AUS'PEX. One who takes the 
auspices, or in other words, who 
observes the flight, singing, or feeding 
of birds, in order to discover there- 
from the secrets of futurity. Cic. Alt. 
ii. 7. Hor. Od. iii. 27. 8. 

AUTHEP'SA {aWtyqs). A word 
coined from the Greek, meaning in its 
literal sense a self-boiler (Cic. Rose. 
Am. 46. Lamprid. Elag. 19.), from 
which it is reasonably inferred to 
have been an apparatus which con- 
tained its own fire and heaters for 
water, so as to be adapted for cook- 
ing in any part of a house ; and con- 
sequently of the same description as 
the specimen here introduced, from a 




bronze original found at Pompeii. The 
sides, which are of considerable thick- 
ness, and hollow, contained water ; 
and a small cock projects from one of 
them (the left-hand in the engraving) 
to draw it off ; the four towers at the 
angles are provided with moveable 
lids ; the centre received the lighted 
charcoal ; and if a trivet or other 
vessel was placed over it, such an 
apparatus would admit of many pro- 
cesses in cooking, with great economy 
of trouble and expense. Many other 



contrivances of the same sort have 
been discovered at Pompeii, similar 
in regard to the principle upon which 
they are constructed, and only differ- 
ing in the pattern or design. 

A U T O P V RO S ( a vToirvpos) . Brown 
bread, made of coarse flour with the 
bran in it. Plin. //. N. xxii. 68. 
Petr. Sat. 66. 2. Celsus, ii. 18. 

AVE'NA. A Pandean pipe, made 
with the stalk of the wild oat, such 
as was used by the peasantry. Virg. 
Tibull. Ov. Met. viii. 192. Arundo. 
No. 6. 

AVER'TA. A saddle-bag, which 
was probably placed on the rump of 
an animal, as now commonly prac- 
tised in Italy. Acron. ad Hor. Sat. 
i. 6. 106. 

AVERTA'RIUS. A beast of 
burden, which carries the averta, or 
saddle-bag, upon his rump. Impp. 
Valent. et Valens. Cod. Theodos. 8. 
5. 22. 

AVIA'RIUM. A poultry yard. 
Varro, R. R. iii. 3. 7. 

2. An aviary, in which birds of 
choice kinds, and rare breeds were 
kept. Varro, /. c. 

3. A decoy or p7-eserve for aquatic 
birds. Columell. viii. I. 4. 

AVTA'RIUS. A slave who had 
the charge of breeding, feeding, and 
fattening poultry. Columell. viii. 3, 
4. sea. 

AVICULA'RIUS. Apic. viii. 7. 
Same as preceding. 

AXICIA. A word only met with 
in a single passage of Plautus {Cure. 
iv. 4. 21.), which the dictionaries 
and commentators interpret, a pair of 
scissors. But the reading or the in- 
terpretation seems very doubtful ; for 
the instrument used by the ancients 
for the same purposes as our scissors, 
was termed Forfex by the Romans ; 
and in the passage of Plautus, the 
axicia is enumerated as an article of 
the toilet, with the comb, tweezers, 
looking - glass, curling - irons, and 
towel ; but a pair of scissors, though 
useful enough on a modern dressing- 
table, would be far less appropriate to 



7 2 



AXIS. 



B AC ILL UM. 



the Roman toilet, if regard is had to 
the difference of ancient habits. 

AXIS (dZtov). The axle-tree of a 
carriage to which the pole is affixed, 
and round which the wheels revolve 
(Ov. Met. ii. 317.), which is clearly- 
seen in the illustration from an 
ancient bronze car preserved in the 
Vatican ; but in waggons of the kind 
called plaustra, the axle-tree was not 
a fixture, but revolved together with 
the wheels in nuts or sockets screwed 
on to the bottom of the cart ; see 
Art em on. 




2. Axis versatilis. A revolving 
cylinder, such as is worked by a 
windlass for drawing 
up weights, by twist- 
ing the cord round 
about itself, like the 
roller and windlass 
by which a bucket is 
drawn out of a well, 
as illustrated by the 
annexed engraving 
from a marble sarco- 
phagus in the Vatican 
cemetery. Vitruv. ix. 

3. The upright axis of a door, 
which worked in sockets let into the 
upper and lower lintel, and so formed 
a pivot upon which the door turned 
when opened or shut. Stat. Theb. i.349. 
See Antepagmentum and Cardo. 

4. The valve of a water-pipe or 
cock ; in which sense the proper 
reading is Assis 




Assis. 



A plank ; also properly written 



B. 

BABYLONTCUM. A shawl of 
Babylonian manufacture, which was 
highly prized amongst the Romans 
for its fine texture and brilliant 
colours. Lucret. iv. 1027. P. Syrus 
ap. Petr. Sat. 55. 6. 

BACCHA {Kdicxri). A Bac- 
chante ; a female who celebrates the 
mysteries of Bacchus. (Ovid. Her. 
x. 48. ) They are frequently repre- 
sented in works of art, and described 




by the poets (Ov. Met. vi. 591.), as 
in the illustration, with a wreath of 
vine leaves or ivy round the head, 
loose flowing hair, a mantle made of 
kid-skin, on the left side, and the 
thyrsus in the right hand, running like 
mad women through the streets. The 
figure here introduced, which is from 
a bas-relief of the Villa Borghese, in- 
stead of the skin on her person, car- 
ries part of a kid in her left hand. 
B ACILLUM (fiaicrypioi'). A 




small staff, stick, or cane ; a walking- 
stick, sometimes as with us artificially 



BACULUS. 



BALINEjE. 



73 



bent into form. (Cic. Fin. ii. II. 
Juv. Sat. iii. 28.) The example is 
from a painting at Pompeii, and 
represents Ulysses. 

2. Varro, R. R. 50. 2. See Falx 

DENTICULATA. 

BACULUS and BAC'ULUM 
{jSaKTpov). A long stick or staff, 
such as was com- 
monly carried by 
travellers, rustics, 
shepherds, goat- 
herds (whence 
termed agreste. Ov. 
Met. xv. 654.) ; by 
infirm or aged per- 
sons of both sexes 
(Ov. Met. vi. 27.) ; 
and also, out of af- 
fectation, by the 
Greek philosophers. (Mart. Ep. iv. 
53.) The illustration, from a MS. 
of Virgil in the Vatican library, 
represents one of the shepherds of 
the Eclogues leaning on his staff, 
precisely as described by Ovid, in- 
cumbens or innitens baculo {Met. xiv. 
655. Fast. i. 177.) ; an attitude also 
of daily occurrence amongst the 
peasants of the Roman Campagna. 

2. {a-K^iTTpov.) A long staff, which, 
in early times, was carried by kings 





represented of greater length than 
the rustic staff, as may be seen by the 
annexed figure of Agamemnon, from 
a marble vase of Greek sculpture, and 
itis sometimes described as being orna- 
mented with gold and silver. (Floras, 
iv. II. 3. Id. iii. 19. 10.) It was the 
original of the regal sceptre : and in 
consequence was used on the tragic 
stage by actors who personated kingly 
characters. (Suet. Nero, 24.) But 
the word, when used in this sense, of 
a sceptre, by the Latin writers, is 
mostly adopted in order to character- 
ise, and to ridicule, foreign, and espe- 
cially Asiatic, manners. Floras. //. cc. 

BAJULATO'RIUS. Which 
serves or is adapted for carrying. 
Sella bajiilatoria. See Sella. 

BAJ'ULUS (puTO<f>6pos, (poprrjyos). 
A porter, or any person who carries 



and persons in authority, both as a 
mark of distinction and a defensive 
weapon. In works of art it is always 




burdens on his back, as shown in the 
illustration from a painting in a 
sepulchral chamber at Rome. Plant. 
Pain. v. 6. 17. Cic. Par. iii. 2. 

2. In the Roman household, a 
slave who performed the same duties 
as the porter of a modern establish- 
ment, such as carrying parcels, 
letters, &c. Hieron. Ep. 6. ad 
Julian, n. 1. 

BALI N' E JE or BAL'NE^ 
[QaXavetov h-q^baLov. Plut . PJwc. , p. 
302. Reiske). A set of public baths, 
including conveniences for warm and 
cold bathing, as well as sudorific or 
vapour baths, and provided with a 
double set of apartments for the male 
and the female sex. Varro, L. L. viii. 
48. Id. ix. 64. 

The system upon which the bathing 
establishments of the Romans were 



74 BALTNEM. 



arranged, and the ingenious method 
of their construction, will be best 
understood by the annexed ground- 
plan and description of the double 
set of baths at Pompeii. Views and 
elevations of the various apartments 
in detail are given separately under 
each of their respective names. They 




had six distinct entrances, i, 2, 3, 4, 
5, 6, from the street ; of which the 
three first were for visitors ; 4 and 5 
for the slaves and purposes connected 
with the business of the establish- 
ment ; and the last gave access to the 
women's baths, which have no inter- 
communication with the larger set. 
To commence the circuit by the first 
door (1), at the bottom of the plan on 
the left hand. 

a. Latrina, a privy. 

b. An open court, surrounded by a 
colonnade on three of its sides, which 
formed a sort of Atrium to the rest of 
the edifice. 

cc. Stone seats along one side of 
the court for the slaves who were 
awaiting the return of their masters 
from the interior, or for the accommo- 
dation of the citizens, in like manner 
expecting the return of their friends. 

d. A recessed chamber, either in- 
tended as a waiting-room for visitors ; 
or probably appropriated to the use of 
the superintendent of the baths. 

e. Another latrina, near the second 
principal entrance (2), from which a 



corridor, turning sharp to the right, 
leads into 

A. The apodyterhwi, or undressing- 
room, which has a communication 
with each of the principal entrances, 
and with each of the apartments 
destined for the various purposes of 
hot and cold bathing. 

ff. Seats of masonry on each side 
of the room, for the bathers to dress 
and undress upon. 

B. The frigid ai'inm, or chamber 
containing the cold water bath (baj>- 
tisteriuni), 

g. A room for the use of the garde- 
robe, who took charge of the wearing ap- 
parel, kept for its owners while bathing. 

C The tcpidarium, or tepid cham- 
ber ; the atmosphere of which was kept 
at an agreeable warmth by means of a 
brazier, found in it. It was intended 
to break the sudden change of tempe- 
rature from heat to cold, as the bather 
returned from the thermal chamber to 
the open air. This apartment served 
also in the present instance as a 
place for being scraped with the 
strigil, and anointed after bathing 
(see the illustration to Aliptes) ; 
for the convenience of which it was 
furnished with two bronze seats 
found in the room, and the walls were 
likewise divided all round into small 
recesses, forming so many closets or 
lockers, which might contain the 
strigils, oils, unguents, and other 
necessaries for the use of those who 
did not bring their own with them. 
A door from this department con- 
ducted the bather into 

D. The caldarium, or thermal 
chamber ; which contains (k) a hot 
water bath [alveus) at one extremity, 
and the Laconicum, with its basin or 
labrum (it), at the other. The flooring 
of the room is hollow underneath, 
being suspended upon low brick 
pillars, and the walls are also fitted 
with flues, so that the whole apart- 
ment was surrounded by hot air, 
supplied from an adjoining furnace. 
See the illustration to Suspensura 
and Hypocaustum. 



B ALINE JE. 

I. The furnace, which, besides the 
use above mentioned, also heated the 
coppers containing the water for the 
baths ; viz., 

m. The caldarimn, or copper for 
hot water ; and 

n. The tepidarium, or copper for 
tepid water. 

o. The cold water cistern. 

p. A room for the slaves who had 
charge of the furnace and its appen- 
dages, furnished with a separate en- 
trance from the street (4), and two 
staircases, one of which led up to the 
roof, and the other down to the furnace. 

q. A small passage, connecting the 
last-named apartment with 

r. The yard, where all the things 
necessary for the service of this part 
of the establishment, such as wood, 
charcoal, &c, were kept. It has 
also its own separate entrance from 
the street (5), and the remains of two 
pillars, which originally supported a 
roof or a shed, are still visible. 

The remaining portion of the 
plan is occupied by another set of 
baths, appropriated for females, 
which are more confined in point of 
space, but arranged upon a similar 
principle. They have but one en- 
trance (6), which gives access to a 
small waiting-room {s), with seats 
for the same use and purposes as 
those marked cc in the larger set. 
E. The apodyterium, with seats on 
two of its sides [tt), and which, like 
the one first described, communicates 
with the frigidarium, or cold water 
bath (f), and with the tepidarium, or 
tepid chamber (g), through which 
the bather passes on, as he did in the 
preceding case, to the thermal cham- 
ber (h), provided in the same manner 
with its Laconicum and labrum (u) at 
one end, and its alveus, or hot water 
bath (cc>), on the side contiguous to 
the furnace and boilers, which are 
thus conveniently situated, so as to 
supply both sets of baths with hot 
air and warm water by a single ap- 
paratus. In these baths for the 
women, the tepidarium has a sus- 



BALINEUM. 7 5 

pended floor and walls fitted with 
flues, which is not the case in the cor- 
responding apartment of the larger set. 

2. Vitruvius (vi. 5. I.) used the 
same term to designate a private bath 
in a man's own house ; but this, 
according to Varro (/. c), is not a 
strictly accurate usage. See the 
following word. 

BALIN'EUM or BAL'NEUM 
[fiakave'Lov idiuriKov. Plut. Demetr. p. 
41. Reiske. Alciphr. Ep. i. 23.). A 
private bath, or the suite of bathing 
rooms belonging to a private house 
(Varro, L. L. ix. 68. Cic. Fain. xiv. 
20.) ; as contradistinguished from the 
plural Balinec?, applied to the public 
establishments, which commonly com- 
prised two sets of baths, with distinct 
and separate accommodation for both 
sexes, and consequently more extensive 
and numerous dependencies. In other 
respects the distribution and arrange- 
ments of the several apartments were 
upon a similar principle in both 
cases, as will be seen by comparing 
the members in the annexed wood- 
cut, which presents the ground-plan 
of the baths belonging to the sub- 
urban villa of Arrius Diomides at 
Pompeii, with those of the public 
baths described and- illustrated in the 
preceding article. The baths and 




their appurtenances occupied an 
angle at one extremity of the whole 
pile of building, and were entered 
from the atrium through a door at a. 
Immediately on the right of the 



7 6 



BALLISTA. 



BA L N~EA R IS. 



entrance is a small room (b), perhaps 
used as a waiting-room, or intended 
for the slaves attached to this de- 
partment of the household. Beyond 
this is the apodyterium, or undressing- 
room (A), situated between the cold 
and hot baths, and having a separate 
entrance into both of them. 

B is a small triangular court, par- 
tially covered by a colonnade on two 
of its sides ; in the centre of which 
and in the open air, excepting that it 
had a roof over head, supported upon 
two columns at opposite angles, was 
the cold water bath (c), — piscina in 
area. Plin. Ep. v. 6. 26. 

c is the tepid chamber (tepidaj ium), 
with a seat in one corner, upon 
which the bather sat to be scraped 
and anointed after the bath. 

D. The caldarium, or thermal 
chamber, arranged exactly as in the 
public baths, with the Laconicum at the 
circular end, and an alveus, or hot 
water bath at the opposite extremity. 

d is the reservoir, which contained 
a general supply of water from the 
aqueduct ; e, a room for the use of the 
slaves- who served the furnaces, which 
had a stone table in it (e), and a stair- 
case leading to an upper story, or to 
the roof ; f, the cistern for cold 
water ; g, the boiler for tepid water ; 
h. the boiler for hot water ; i, the 
furnace ; all of which are disposed in 
the same manner as those of the 
public establishments, and with the 
same regard for the saving of fuel 
and water. See Caldarium, Tepi- 

DARIUM, FRIGIDARIUM. 

2. Sometimes the same word is 
used in a more confined sense for the 
hot water bath {alveus) ; seen at the 
square end of the room c, and at the 
letter h in the preceding w T oodcut. Cic. 
Att. ii. 3. Pet. Sat. 72. Celsus, iii. 24. 

BALLTSTA or BAL'ISTA 
(\l6o36\os or -ov). An engine used 
at sieges for hurling ponderous masses 
of stone. (Lucil. Sat. xxviii. p. 61. 
23. Gerlach. Cic. lusc. ii. 24. Tacit. 
Hist. iv. 23.) Neither the descrip- 
tions of the Latin authors, nor the 



monuments of art enable us to form a 
distinct notion of the manner in 
which these machines were con- 
structed ; and the different attempts 
of modern antiquaries to restore a 
specimen from the words of Vitru- 
vius (x. II.) and of Ammianus 
(xxiii. 4. § 1-3.), must be regarded 
as too uncertain and conjectural to 
be invested with any degree of 
authority. They were, however, 
made of different dimensions, called 
majores and minor es (Li v. xxvi. 47.) ; 
and some were used as field engines, 
being placed upon carriages and 
drawn by horses or mules, so that 
they could be readily transported to 
any position on the field of battle, 
thence termed Carroballist^, one 
of which is represented on the 
column of Antoninus, and is subse- 
quently introduced as an illustration 
to that word. It may seem to con- 
I vey a general sort of notion as to 
what these machines were like ; but 
is far too imperfect and deficient in 
detail to afford any approximation 
towards a distinct understanding of 
the exact principle upon which they 
I were constructed. 

BALLISTA'RIUM or BALI ST. 
j An arsenal or magazine, in which 
ballistce are kept. Plaut. Pcen. i. I. 74. 

BALLISTA'RIUS or BALI ST. 
A soldier who worked or discharged 
a ballista ; ranked amongst the light- 
armed troops. Ammian. 16. 2. § 5. 
Veget. Mil. ii. 2. 

BALNEA. See Baline.e. 

BALNEA'RIA. Used absolutely 
to express collectively all the imple- 
ments, vessels, and necessaries used 
in the bath, such as strigils. oil, per- 
fumes, towels, &c. Apul. Met. iii. 
p. 51. Compare Lamprid. Alex. Sev. 
42. Paul. Dig. 34. 2. 33. 

BALNEA'RIS, sc. fur. \\xarioKkiTz- 
T7)s, Diog. Laert. vi. 52. XuTroduTrjs, 
Id. ib. Catull. xxxiii. I. A fellow 
who made a livelihood by stealing the 
clothes of poor people, who had no 
slaves of their own to take care of 
them, from the public baths while 



BALNEA R 1 A. 



BALTEUS. 



77 



their owners were bathing ; for at 
Rome every one was compelled by 
law to strip himself in the undressing- 
room before he was permitted to enter 
the bathing apartments (Cic. Coel. 
26.), the object of which was to pre- 
vent the property or utensils of the 
establishment from being purloined, 
and concealed under the dress. 

BALNEA'RIA. Absolutely, for 
a set of baths, or bathing chambers. 
Cic. Q. Fr. iii. 1. 1. See Baline.e 
and Balinetjm. 

BALNEATOR ((3a\avevs). The 
keeper of a set of baths. Cic. Ccel. 
26. Also the bath-man ; a slave who 
attended to the baths in a private 
house. Alciphr. Ep. i. 23. 

BALNEA'TRIX. The mistress 
of a set of baths, or who has charge 
of the women's department of the 
same. Petr. ap. Serv. ALu. xii. 159. 

BAL'NEUM. See Balineum. 

BALTERARIUS. The master 
or keeper of the belts (battel), an 
officer in the Imperial household, 
whose duty it was to provide and 
keep in the wardrobe those articles 
of use and ornament. Inscript. ap. 
Reines. cl. 8. n. 69. Spon. MiscelL 
Erud. Ant. p. 253. 

BALTE'OLILS. Diminutive of 
Balteus. 



or 
baldric 



BAL'TEUM 
or shoulder 



BALTEUS 
(reAa / Utoi'). A 

belt, passed over 
one shoulder, 
and under the 
other, for 
purpose of 
pending 
sword, in 
same manner as 
our soldiers 
carry their side- 
arms. (Quint, 
xi. 3. 140.) It 
was fastened in front by a buckle 
(Virg. Ai.n. v. 314.), and frequently 
enriched with studs (bullce) of gold or 
precious stones (Virg. /. c), both 
which particulars are distinctly visible 
in the illustration, from a trophy at 




Rome, commonly known as " the 
trophies of Marius, " but in reality 
belonging to the age of Trajan. 

2. The Greek soldiers of 'the 
Homeric age also used a similar belt 
to carry their shields by ; and, conse- 
quently, wore two of them at the 
same time. Horn. //. xiv. 404. 

3. A similar kind of belt, also de- 
signated by the same term, was used 
in like manner for suspending a 
quiver from the shoulders (Virg. s£n. 
v. 313. Xemes. Cyneg. 91.), and a 
musical instrument, like the lyre or 
guitar from the neck. (Apul. Flor. 
ii. 15. 2.) See the illustration to 
Pharetratus, 3. and LYRISTRIA, 
which afford examples of a belt ap- 
plied in both of these ways. 

4. An ornamental belt or band, 
sometimes decorated with gold and sil- 
ver studs, or .with 
embroidery, which 
was placed round 
a horse's neck and 
breast, below the 
monile or throat- 
band, and from 
which bells were 
often suspended. 
(ApuL Met. x. 
p. 224.) The illustration is from a 
fictile vase : compare the example 
under Tintinnabulatus, which is 
plain, and with a bell hanging from it. 

5. Less accurately, and particu- 
larly by the poets, a girdle round 
the waist (Lucan. ii. 361. Sil. Ital. 
x. 181. Cingulum), and a horse's 
girth round the body. Claud. Ep. 
xxi. and xx. See Cingula. 

6. The broad flat belt 
sphere, which 
contains the 
twelve signs of 
the Zodiac, and 
repi-esents the 
sun's course 
through them 
(Manilius, iii. 
334.), as shown 
by the engraving, which is 
from a painting at Pompeii. 





copied 



78 



BALTEUS. 



BA P T1S TERIUM. 



7. The band which encircles the 
bolster or cushion on the side of an 




Ionic capital ; in technical language, 
the band or girdle of the bolsters. 
(Vitruv. xi. 5.7.) It is often covered 
with sculpture, as in the example, 
which represents a side view of a 
capital belonging to the temple of 
Minerva Polias. 

8. In a theatre or amphitheatre, 
a wall or belt, which formed a line of 
demarcation between one tier of 
seats {Mcenianum) and another. 




(Calpurn. Eel. vi. 47.) The object 
of this was to prevent the different 
classes of spectators from passing 
over from the places assigned to their 
respective orders into other parts of 
the building where they were not 
entitled to sit ; as for instance, from 
an upper circle into a lower one. 
The illustration presents a view in 
the larger theatre at Pompeii, and 
shows a portion of two mceniana, or 
tiers of seats, separated by the bait ens 
between them. It will be understood 
that this belt, which here is only a 
fragment, ran uninterruptedly round 
the entire range of seats. The visitors, 
upon entering the theatre, walked 
round the covered gallery shown by 
the lai-ge dark arch on the right hand, 



until they came to either of the small 
doors [vomitorid), through which 
they passed into the interior, and 
descended the staircases in front of 
them until they came to the row or 
step (gradus) in which their respec- 
tive places were situate. Another 
balteus is seen above, also with two 
of its doors, which separated the 
second mcenianum from the seats 
above. It will also be observed that 
the covered passage which encircles 
the first mcenianum has no commu- 
nication with the one above, which 
was approached by a separate cor- 
ridor of its own, connected with a 
distinct set of staircases in the ex- 
ternal shell of the building. 

BAPHI'UM {fiacpeiov). A dyer's 
establishment. Inscript. ap. Carli, 
Atitich. Ital. torn. 3. p. 14. Procura- 
tori Baphii Cisste Histrice. Lamprid. 
Alex. Sev. 40. Strabo, xvi. 2. § 23. 

BAPTISTE'RIUM {^a.-Knarf 
ptov). Properly a Greek word (Si- 
- 




don. Ep. ii. 2.), though not extant 
in any Greek author. A cold plung- 
ing bath, constructed in the cella 
frigidaria. (Plin. Ep. ii. 17. 11. Id. 
v. 6. 25.) The illustration presents a 
view of the cold bath, and room which 



BARB A TUBUS. 



BARBITOS. 



79 



contains it, as now remaining at Pom- 
peii. The bath itself (baptisteriuni) is 
a circular marble basin, of 12 feet 9 
inches diameter, indented with two 
steps, and having a short low seat at 
the bottom (on the left hand in the 
engraving), upon which the bather 
might sit and wash. 

2. Amongst the ecclesiastical 
writers, or subsequently to the estab- 
lishment of Christianity, a building 
distinct from the church in which the 
baptismal font was placed (Sidon. 
Ep. iv. 15 ) ; of which the baptistry 
built by Constantine near the church 
of S. Giovanni Laterano, at Rome, 
affords an actual example. A view 
of the interior of this edifice may be 
been in Gaily Knight's " Ecclesiastical 
Architecture of Italy." 

BARBA'TULUS {uTr^np Trpa,- 
tov. Ael. V. H. x. 18. Horn. //. xxiv. 
348.). Having a youthful beard grow- 
ing just round the chin, without being 
shortened or trimmed into shape by 
the barber (Cic. Att. i. 14.), as it was 
worn by the youth of Rome before the 
custom of shaving had obtained ; and, 
subsequently, until the age of man- 
hood, when its ample growth x-equired 
to be artificially trimmed into form. 
Youths used to grease their faces with 
oil from the lamps, to anticipate nature 
in making the moustache and beard 
grow. (Pe.tr. Sat. 75. 10.) The illustra- 



0m 





tion is taken from a statue of Drusus, 
the son of Tiberius, found at Pompeii. 

BARBA'TUS (vTrt]v~qTi)S, 7ru»yaj- 
vias). W earing the beard of its natural 
length, as was frequently practised by 
the Greeks, until the age of Alexander, 




and universally by the Romans, until 
the year B.C. 300 
(Plin. H. N. vii. 59. 
Compare Li v. v. 41. 
and Cic. Coil. 14.), 
whence the Latin 
writers commonly 
use the word to de- 
scribe the rude and 
unpolished manners 
of the early ages (Cic. 
Mur. 12. Id. Sext.%. 
Juv. iv. 103), when 
beards were worn like that in the ex- 
ample from an engraved gem, supposed 
to represent Numa Pompilius, from 
the resemblance it bears to the profile 
upon some coins which have the name 
of Numa inscribed upon them. 

2. Barbatns bene. Having the beard 
neatly clipped and 
trimmed, so as to 
give it an artificial 
kind of beauty ; a 
practice which came 
into fashion amongst 
the young exquisites 
towards the latter 
days of the republic 
(Cic. Cat. ii.* 10.), 
and was generally 
adopted by the emperors from the time 
of Hadrian, as in the annexed bust of 
Antoninus Pius, from an engraved gem. 

BARBITOS and BARBITON 
(i3dp(3iTvs, fidpfiiTor, and (5apv^xiror. 
Jul. Poll. iv. 59.). A 
stringed instrument be- 
longing to the class of 
lyres ; but which was 
of a larger size and had 
thicker strings (Pollux, 
/. c), and,, therefore, 
produced louder and 
and fuller notes than 
the usual instruments 
of that kind. In other 
respects, it was played 
in the same manner 
as they were, with the 
fingers and the plec- 
trum, or quill (Claud. 
Pi'oem. ad Epith. in 





A'upt. Hon. 



80 BARCA. 

et Mar. 9. Auson. Epigr. 44.) ; 
and thus it may be regarded as 
an instrument which bore the same 
analogy to the lyre as our violon- 
cello does to the violin. All these 
particulars make it highly probable 
that the figure here introduced 
affords an authentic specimen of the 
ancient barbitos. It is copied from a 
Pompeian painting, where it stands 
by the side of Apollo, resting on a 
knob, like our bass viol, upon the 
ground, and reaching as high as half 
way up the figure. 

BAR'CA. A boat employed for 
discharging a cargo, and transporting 
it to the shore. When the vessel put 
to sea, it was shipped on board, and 
only lowered down again when its 
services were required. Isidor. Orig. 
xix. I. 19. Not. Tir. p. 77. 

BARDOCUCUL'LUS. A hood 
or cowl (cucullus), which, if we 
might judge from the name, was 
peculiar to the Bardaei, a people of 
illyria (compare Capitol. Pertin. 8.) ; 
but Mart. {Ep. i. 54., compare Juv. 
Sat. viii. 145.) attributes it to the 
Gauls, and in another passage {Ep. 
xiv. 128.) he clearly indicates that it 
was an outer garment worn by the 
common people of that country, and 
bearing some sort of resemblance to 
the Roman pcenula. Thus it was 
probably a cloak of coarse materials, 
with a hood to it, which covered the 
whole body, like the one worn by the 
carter in the annexed engraving, 




which is copied from a sepulchral 
bas - relief found at Langres, in 
France. It has sleeves, which the 
pti me la had not ; but there is a slit 



BASILICA. 

at the side (just near the right foot), 
the same as in the pcenula, only not 
so long ; and it is precisely these re- 
semblances and discrepancies which 
account for the juxtaposition of the 
two words in Martial. 

BA'RIS {papis). A flat-bottomed 
boat used upon the Nile, for the 
transport of merchandise, and more 
especially for conveying a dead body 
across the river to the place of se- 
pulture, in the funeral procession. 
(Herod, ii. 96 Diodor. i. 96.) The 
illustration shows one of these boats 




with a mummy placed in it, from an 
Egyptian painting. When Proper- 
tius (iii. II. 44.) applies the name to 
the war vessels of Antony and Cleo- 
patra, it is to be understood in a 
sense of extreme irony and con- 
tempt. 

BASCAU'DA. The Welsh 
"basgawd," and English "basket." 
These articles of ancient British 
manufacture were imported, together 
with their name, into Rome (Mart. 
Ep. xiv. 99.), where they were em- 
ployed amongst the table utensils, 
and held in much esteem. Juv. Sat. 
xii. 46. Schol. Vet. ad I. 

BASILICA. A spacious public 
building erected in, or contiguous to 
the forum or market-place, for the 
merchants and people of business 
to meet in, as well as for a court of 
justice ; thus answering in many 
respects to our "Town Hall" and 
"Exchange." Cic. Verr. ii. 5- 5$. 
Id. Att. ii. 14. 

The internal construction of a 
basilica bore a very close resemblance 



BASILICA. 



BASTERNA. 



Si 



to most of our old English churches. 
It consisted of a central nave and 
two side aisles, divided from it by a 
row of columns on each side, as 



shown on the annexed ground-plan 
of the Basilica at Pompeii. In this 
part of the building, the merchants 
arid people of business congregated 
and transacted their affairs. At the 



further extremity of the principal 
nave, a portion was railed off (see 
the right hand of the preceding cut), 
like the chancel of a church, or a 
tribune was thrown out (see the next 
woodcut), so as to form a recess 
apart from the noise and activity of 
the traffickers in the body of the 
building ; and in these the judges sat, 
and the counsel pleaded. The whole 
of the interior was further surrounded 
by an upper gallery raised upon the 
columns which divided the aisles 
below, as represented in the annexed 
engraving, which shows a longitudinal 




section and elevation down the centre 
of the ancient Basilica at Verona, as 
restored from its remains by the 
Count Arnaldi. These upper gal- 
leries were mainly intended for the 
accommodation of spectators and idle 
loungers ; who were thus enabled to 
watch the proceedings going on with- 
out creating confusion, or disturbing 
the real business below. Vitr. v. I. 

2. After the introduction and 
establishment of Christianity by 
Constantine, many of the ancient 
basilica were converted by him into 
places for religious worship, for which 
purpose their plan of construction 
was so well adapted ; hence, amongst 
the ecclesiastical writers, after that 
period, the word is commonly used 
to designate a church (Sulp. Sev. 
Hist. Sacr. ii. 33. and 38.). Five 
of these edifices at Rome still retain 
their ancient name of basilica ; and, 
moreover, preserve a record of their 
original purpose, by being kept 
open, like a court of justice, the 
whole day, instead of being shut 



at certain hours, like all the other, 
churches. 

BASILTCUS, sc. jactus. The 
name given to one of the throws on 
the dice. What combination of 
numbers was required to turn up 
the throw is not ascertained ; but it 
was evidently a good cast, from the 
name, though below the Venus, 
which was the best of all. Plaut. 
Cure. ii. 3. 80. Becker, G alius, 
p. 393. Transl. 

BASTER'NA.' A sort of palan- 
quin, more especially appropriated 
to the use of females. (Poet. Incert. 
in Anthol. Lat. Ep. iii. 183.) It 
was a close carriage (Ammian. xiv. 
6. 16.) ; and was borne by two 




mules, one before and one behind, 
F 



BASTERNA rius. 



BES. 



each harnessed to a separate pair of 
shafts. (Pallad. vii. 2. 3.) The 
whole of this description corresponds 
so precisely with the annexed draw- 
ing, from an old woodcut of the 
15th century, and with similar con- 
veyances still in use in various 
countries* as to leave no doubt that 
the ancient bastema was formed upon 
a similar model. 

EASTERN A'R I U S. A slave 
who drove the mules, which carried a 
palanquin or basterna. Symm. Ep. 
vi. 15. 

BATIL'LUM or BATIL'LUS, 
A small shovel or fire pan, used 




as a chafing-dish, in which lighted 
charcoal was carried for the purpose 
of burning odoriferous herbs and 
frankincense. (Hor. Sat. i. 5. 36.) 
The example is from an original of 
bronze found at Pompeii. 

2. A common shovel or scoop for 
removing filth, rubbish, &c. ; some- 
times made of wood (Varro, R. R. 
i. 50. 2.), and sometimes of iron. 
Varro, R. R. iii. 6. 5. 

3. A small and fiattish pan, ol- 
dish, with a handle to it, employed as 
a crucible for assaying silver. (Plin. 
H. N. xxxiii. 44.) The example is 
copied from a bas-relief found on the 




Via Appia, the use of which is 
clearly identified in the original, by 
the representation of a bag of money 
beside it. 

BATI'OLA. A sort of drinking 
cup of large dimensions and valuable 
materials ; but of which the precise 
form and capacity are not known. 
Plaut. Stick, v. 4. 12. 

BAX'A and BAX'EA. A light 
sort of slipper, or sandal, or shoe, 



made of fibres, leaves, or willow 
strips platted together by the Ro- 
mans (Isidor. Orig. xix. 34. 6. and 
13.), and of the palm leaf, or the 
papyrus, by the Egyptians. (Apul. 




Met. ii. 39.) They were worn on 
the Comic stage (Plaut. Men. ii. 3. 
40.), and by philosophers who af- 
fected simplicity of dress. (Apul. 
Met. xi. p. 244.) The example is 
from an original of papyrus in the 
Berlin collection. They are some- 
times indicated on the feet of Egyp- 
tian statues, and many originals have 
been discovered in the Egyptian 
tombs ; some made with close sides 
! and upper leather, like a shoe ; 
others with a leaf forming a mere 
strap, like a clog, across the instep ; 
and others, like the specimen here 
engraved, with a band across the 
instep, and another smaller leaf in 
the fore part of the sole, intended to 
pass the great toe through. 

BEN'NA. A Gaulish word, used 
to designate a four-wheeled cart or 
carriage made of wicker-work, and 
capable of holding several persons, as 
seen in the example copied from the 
Column of Antoninus. Festus, s. v. 
Scheffer, Re Vehic. ii. 21. Compare 




Cato, R. R. 23. 2. where, however, 
Schneider reads Mana. 

BES, Eight- twelfths, or two- 
thirds of anything ; as, for instance, 
one of the fractional parts of the As ; 
but not used in actual coinage as a 
piece of money. Varro, L. L. v, 172, 



BESTIARIUS. 



BICLINIUM. 



83 



BESTIA'RIUS {dripiofidxvs). One 
who was trained and hired to fight 
with wild beasts at the Circensian 
games, in the Roman amphitheatre, 
or upon any particular occasion when 
shows of this nature were exhibited 
to the people. (Cic. Sext. 64, Id. 
Q. Fr. ii. 6.) The Bestiarii were 
distinct from the gladiators, and 
altogether regarded as an inferior 
class of combatants (Pet. Sat. 45. 
II.); nevertheless, they were at 
first fully protected, like them, with 
defensive and offensive armour ; viz. 




a helmet, shield, knife or sword, and 
defences for the legs ; most of which 
particulars are shown in the illus- 
tration, forming part of a bas-relief 
let into the wall of the Palazzo 
Savelli, now Orsini, at Rome, and 
which is built upon the ruins of the 
theatre of Marcel! us ; at the dedi- 
cation of which 600 wild beasts were 
killed, a slaughter commemorated, 
no doubt, by the bas-relief here in- 
troduced. But latterly they became 
more distinct in their accoutrements 
and mode of fighting, having no body 




armour beyond bandages on their 



legs and arms ; and for offensive 
weapons, carrying only a spear or a 
sword in one hand, and a piece of 
coloured cloth, like the Spanish 
matador, in the other ; as shown by 
the last example, from a tomb at 
Pompeii. This custom was first in- 
troduced in the reign of Claudius. 
Plin. H. N. viii. 21, 

BIBLIOPO'LA (afiXioTnbX-ns). 
A bookseller; whose trade consisted 
in collecting MSS. (Mart. Ep. iv. 
72.); advertising them by catalogues 
affixed to the outside of his shop 
(Mart. Ep. i. 118. II. Hor. Sat. i. 
4 71. Id. A. P. 373.) ; multiplying 
copies by the employment of various 
hands to transcribe them (Mart. Ep. 
ii. 8. Compare Ep. vii. II,) ; and 
disposing of the same by sale. (Plin. 
Ep. ix. 11.) 

BIBLIOTHE'CA (jStjSXio^^i. 
A library ; i. e. the apartment or 
building in which a collection of 
books is preserved. {Cic. Fam. vii. 
28.) A room fitted up as a library 
was discovered in one of the houses 
at Herculaneum, in the year 1753, 
which contained 1 756 MSS., exclu- 
sive of many destroyed by the work- 
men before their value was known. 
They were arranged in shelves, or 
presses, round the room, to the height 
of nearly six feet ; and in its centre, 
there was also an isolated case, 
formed by a rectangular column, 
which fronted each way. and was 
filled in the same manner as the 
other shelves. Iorio, Officina de 
Papiri. 

2. A library ; i. e. the collection of 
books contained in a library. Cic. 
Fam. xiii. 77. Festus, s. v-. 

3. A book-case, or set of book 
shelves. Paul. Dig. 30. 1. 41. Ulp. 
Dig. 32. 3. 52. § 8. 

BIBLIOTHE'CULA. A small 
library. Symm. Ep. iv. 18. 

BICLINTUM. A sofa, or couch, 
adapted for two persons to recline on 
at their meals, &c. (Plaut. Bacch. 
iv. 3. 84. and 1 17.) It is a hybrid 
word, half Latin and half Greek, 



84 BIDENS, 

(Quint, i. 5. 68.) The example is 




from a Roman, bas-relief. 

BIDENS (8iK€\\a, (r/uvvr]). A 
strong and heavy two-pronged hoe 
(Ov. Fast. iv. 927.), employed for vari- 




ous agricultural purposes ; such as, for 
hoeing up the soil instead of plough- 
ing ; for breaking the clods of earth 
turned up by the plough ; for loosen- 
ing and clearing the earth about the 
roots of the vine, &c. (Vh-g. G. ii. 
355. 400. Tibull. ii. 3. 6. Columell. 
iv. 17. 8.) The example is from an 
engraved gem, which represents 
Saturn in the character of an agri- 
cultural slave, in allusion to the 
Saturnalian festival. 

2. As an adjective, it is descriptive 
of things which are formed with two 
prongs, blades, or teeth ; as forfex or 
ferrum bidens (Virg. Cat. 8. Id. Cir. 
213.), a pair of shears (cut of For- 
FEX), ; bidens ancora (Plin. vii. 57.), 
an anchor with a double fluke, for in 
early times they were only made with 
a single one. Cut of Ancora. 

BIDENTAL. A small temple or 
shrine, consecrated by the augurs, 
and enclosing an altar erected upon 
any spot which had been struck with 
lightning {puteal) ; so called because 
it was customary to sacrifice a sheep 
of two years old (bidens) at such 
places. (Festus, s. v. Hor. A. P. 471. 
Apul. Deo Socr. p. 677.) The il- 



BIFRONS. 
lustration affords a view of the re- 




mains of a bidental at Pompeii. The 
altar is seen in the centre, and parts 
of the columns which enclosed it are 
standing in their places ; the roof 
and superstructure may be easily 
imagined. 

BIF'ORIS and BIF'ORUS (8l0v- 
pos). Bivalve ; applied to windows 
and doors, to indicate those which 
open in two leaves, instead of all in 
one piece, similar to what we call 
French windows and folding- doors. 
(Ovid. Pont. iii. 3. 5. Vitruv. iv. 6. 
6.) See the illustration to Ante- 

PAGMENTUM. 

BIF'RONS (St^e'rwTros). Having 
two fronts or faces looking both 
ways ; a type attri- 
buted to Janus, as il- 
lustrative of his great 
sagacity, and emblem- 
atic of his knowledge of 
the past and future, — 
the known, which, as 
it were, lies before, and 
the unknown, which is 
behind. (Virg. Ain. vii. 180.) Busts 
of this kind, with the likenesses of 
different persons turned back to 
back, were much used by the ancients 
to ornament their libraries and pic- 
ture galleries ; they were frequently 
placed on the top of a square pillar at 
the meeting of cross-roads ; and very 
generally as a termination for the 
top of a post forming the upright to' 
a garden railing, or other ornamental 
enclosure ; for which purposes an 
object presenting a front or complete 
view all round is especially adapted. 
The illustration is from the Capitol 
at Rome ; it presents two female 
busts, of the same likeness, a rare 
coincidence ; for busts of this kind 




BIG A. 



BIL YCHNIS. 



85 



mostly represent male heads of dif- 
ferent persons, very generally philo- 
sophers, or of the Indian Bacchus, 
united with some mythological or 
other personage. 

BI'GA {(Tvvupis). A pair of 
horses yoked together ; which was 




effected by a cross-bar resting on 
their withers, like our curricle-bar, 
as is very plainly shown by the illus- 
tration, from a Pompeian painting. 
In this sense the plural, bigee, is 
generally and most appropriately used. 
Plin. H. N. vii. 57. Virg. jEn. ii. 
272. Catull. lv. 26. 

2. In the singular, more accu- 
rately, though the plural is also used, 
a car drawn by a pair of horses ; a 
two-horsed carriage (Suet. Tib. 26. 




Tac. Hist. i. 86.), and equally ap- 
plied to a war-car, or racing chariot, 
which latter is represented by the 
engraving, from a fictile lamp. 

BIGA'TUS, sc. nummns, or argen- 
tum bigatum. (Liv. xxxiii. 23.) A 
silver denarius ; one of the earliest 
Roman coins (Liv. xxiii. 15. Tac. 
Germ. 5.), which bore the device of a 
biga, or two-horse car, on the re- 




verse (Plin. H. A r . 
xxxiii. 13.), from 
which it received 
its name. The ex- 
ample is from an 
original in the Brit- 
ish Museum, and 
drawn of the actual size. 

BIJ'UGIS and BIJ'UGUS. The 
same as Biga, in both senses. 

BI'LANX. With two scales. Marc. 
Capell. ii. 1S0. p. 42. See Libra. 

B I' L I X {UfiiTos). Literally, 
made with two threads, or by a 
double set of leashes (lia'a), in refer- 
ence to cloth woven like our "twill" 
or "dimity" (Virg. JEn. xii. 375.), 
the peculiarity of which depends 
upon the manner in which the threads 
of the warp and woof are interlaced. 
In a piece of common " calico," the 
threads cross each other at right 
angles, every thread of the woof 
(subtemen) passing alternately over 
and under one of the threads of the 
warp (stamen), for which a single set 
of leashes is sufficient ; but in twilled 
fabrics a thread of the woof is passed 
over one, and then under two or more 
threads of the warp, which gives a 
ribbed appearance in the pattern. 
Thus, when the twill is formed by 
passing over one thread and under 
two, it requires two sets of leashes, 
and was distinguished by the epithet 
bilix ; when ever one, and under 
three, trilix ; and so on. 

BILYCH'NIS, sc. lucerna. A 
lamp furnished with two nozzles and 




wicks, so as to give out two sepa- 
rate flames (Pet. Sat. 30. 2.), as in 



86 



B1PALIUM. 



BIREMIS. 



the example, from an original of 
bronze. 

BIPAXIUM. A particular kind 
of spade, fitted with a cross-bar at a 




certain height above the blade, upon 
which the labourer pressed his foot 
in digging, and thus drove the blade 
two spits deep, or twice the depth of 
the common spade {paid). The 
usual reach of this instrument was 
two feet, but that could be increased 
or diminished, by placing the cross- 
bar either farther from, or nearer to, 
the blade. (Cato, R. R. 45. 2. Varro, 
R. R. i. 37. 5. Columell. xi. 3. II.) 
The example is from a sepulchral bas- 
relief 

BIP'EDA. A large tile, two feet 
long, used for making pavements in 
the open air. Pallad. i. 40. 2. Id. i. 
19. 1. 

BIPEN'NTFER. Bearing, or 
armed with the double-bladed axe 
(bipennis), a weapon especially char- 
acteristic of the Amazons, as seen in 
the illustration, from a 
Greek bas - relief, but 
also attributed to other 
persons, as to the 
Thracian king, Lycur- 
gus (Ov. Met. iv. 22.), 
and to Areas, the son 
of Jupiter and Callisto. 
Ov. Met. viii. 391. 

BIPEN'NIS (dlaTo- 
/xos ireXeKvs, a^Lvrj). An 
axe with a double edge 
or blade (Isidor. Orig. 
xix. 19. 11.) ; used as a chip axe (Hor. 
Od. iv. 4. 57.), and more com- 
monly as a weapon of war. (Virg. 
JEn. v. 307. Plin. H. N. viii. 8.) 
See the illustration and preceding 
word. 




BIPRO'RUS (diTrpupos). Having 
a double prow (Hygin. Fab. 168. 
277.) ; which probably means a 
vessel built sharp fore and aft, like 
the fast-sailing "proas" of the In- 
dian seas, so that it could sail either 
way without tacking or going about. 
Compare Tac. Ann. ii. 6. 

BIRE'MIS (StKWTros). Literally, 
furnished with a pair of oars or 
sculls ; and thence used, both adjec- 
tively with scapha, and absolutely, 
for a small boat rowed by one man, 




who handles a pair of sculls, as in 
the engraving, from an ancient fresco 
painting. Hor. Od. iii. 29. 62. 
Lucan. viii. 562. Compare 565. and 
611., where the same is designated 
pa?-va ratis, and alnus. 

2. (5ikpotos). Furnished with two 
banks of oars (ordines) ; which is the 




more common application of the term. 
It designates a bireme or vessel of 
war, which has two lines of oars on 
each side, placed in a diagonal posi- 
tion one above the other, as in the 
example, from a marble bas-relief of 
the Villa Albani, each oar being 
worked by a single rower. (Plin. 
H. AT. vii. 57. Cses. B. C. iii. 40. Tac. 
Hist. v. 23.) That such was- the 
arrangement adopted in the construc- 
tion of a bireme, is sufficiently evident 
from the figure in the cut ; by the 
sculptures on Trajan's Column (23. 



BIROTUS. 



boi^:. 



87 



24. 59. 61. ed. Bartoli), where a 
similar disposition is indicated ; and 
by the passage of Tacitus (/. c), 
which distinguishes a vessel which 
has its oars placed in a single file 
(moneris) from the bireme, which, 
therefore, had them distributed in 
two — complet quod biremium, quczque 
simplici ordine agebaniur. 

BIROTUS, and BIRO'TA sub- 
stantively. Having two wheels, 
and thus designating any description 
of carriage so constructed ; all of 
which are enumerated in the Ana- 
lytical Index. Non. Marc. s. v. Cisium, 
p. 86. Cod. Theodos. 8. 5. 8. 

BIR'RUS. A capote, or cape,, 
with a hood to it (Schol. Vet. ad 




Juv. Sat. viii. 145), w r hich was in 
very common use amongst all classes 
under the later emperors, as an out- 
door covering for the head and shoul- 
ders. It had a long nap, like beaver 
(Claud. Epigr. 42.), and from the 
thickness of its texture is designated 
as stiff (rigens, Sulp. Sev. Dial. 14. ), 
both of which qualities are clearly 
recognisable in the illustration, from 
a statue found at Pompeii, which re- 
presents a young fisherman asleep in 
his capote. 

BISAC'CIUM. A pair of saddle- 
bags made of coarse sacking ; the 
original of the Italian bisacce, and 
dicraKtov of the modem Greeks. 
Pet; Sat. 31. 9. Anton, ad I. 

BISELLA'RIUS. A person to 
whom the privilege was accorded of 
using a bisellium. Inscript. ap. 
Grut. 1099. 2. 

BISEL'LIUM. A state chair of 
large dimensions, sufficient for hold- 
ing two persons (Varro, L. L. v. 



128.) ; though there is every reason 
to believe that it was only used by 




one ; as the several specimens found 
or represented at Pompeii are usually 
accompanied by a single footstool 
{s?ippedaneu7n) placed in the centre, 
similar to the example here given, 
which is from a Pompeian bas-relief, 
and has its name, bisellium, inscribed 
above it. These chairs were used 
by persons of distinction, especially 
the Augustals, in the provinces, 
at the theatre and other public 
places, in the same manner as the 
sella curulis was at Rome. Inscrip. 
ap. Mazois. Ruines de Pomp. vol. i. 
p. 24. ap. Fabretti, c. 3. n. 324. ap, 
Grut. 475. 3. 

BIVTUM. A road, or street, 
which branches into two forks (Plin. 




H. N. vi. 32.) ; hence, in bivio (Virg. 
Ain. ix. 238.), at the point of diver- 
gence between two such roads or 
streets, and which in the town of 
Pompeii is always furnished with a 
fountain, as in the example, which 
presents a street view in that city. 

BOI^E. Probably identical with 
the Greek kXolol, which was a large 
wooden collar, put round the neck of 
mischievous dogs (Xen. Hell. ii. 4. 
41.) ; whence the Romans applied 
the word, in a similar sense, to a 
collar of wood or iron put round the 
neck of slaves and criminals. Plaut. 



88 BOLE TAR. 

As. hi. 2. 5. Id. Capt. iv. 2. 109. 
Prudent. Prcef. Psych. 34. Hieron. 
5. in Hiere7?i. 27. 

BOLE' TAR. Properly a dish 
for serving .mushrooms [boleti] upon 
(Mart. Ep. xiv. 101.) ; and thence 
transferred to any kind of dish. Apic. 
ii. I. v. 2. viii. 7. 

BOTEL'LUS. Diminutive of 
botiilus. Mart. v. 78. 

BOTULA'RIUS. A maker and 
vendor of botuli, black puddings, or 
sausage meat. Sen. Ep. 56. 

BOT'ULUS (<pv(TK V ). A sort of 
sausage meat or black pudding, for it 
was prepared with the blood of the 
animal (Tertull. Apol. 9.), which 
appears to have been prized more 
especially by the common people, 
and such gentry as Trimalchio of 
Petronius. Mart. xiv. 72. Gell. xvi. 
7. 3. Petr. Sat. xlix. 10. 

BOVI'LE. (Veget. iv. 1. 3.) The 
same as Bubile, which is the more 
usual form. 

BRABE'UM, BRABI'UM, or 
BRAVPUM (ppapelov). The prize 
given to the victor at the public 
games. (Prudent. Hepi 2re</>. v. 
538.) The exclamation bravo ! as a 
sign of approval, refers its origin to 
this word. 

BRABEU'TA (fipa^evrp). The 
judge who declared the victors, and 
awarded the prizes at the public 
games of Greece. Suet. A r ero, 53. 

BRAC.E or BRAC'C/E (dva- 
^vpides). An article of dress which 
entirely covered the lower part of the 
person from the waist (see cut 2.) 
to the ankles, and was either made to 
fit the figure nearly tight, like our 
pantaloons, or to sit more loosely 
round the legs, like trowsers. The 
word contains the elements of the 
Scotch breeks, and English breeches; 
but answers more closely to the 
pantaloons and trozusers of the present 
day. The Romans included both 
kinds under the general term of 
braccz ; but the Greeks distinguished 
each particular form by a character- 
istic name ; as follows :— 



BRACAl. 

I. ava^vpLhts. A pair of tight 
trowsers or pantaloons, more espe- 




cially proper to the Eastern nations, 
and amongst these the Amazons 
and Persians (Ovid. Trist. v. 10. 34. 
Herod, i. 71.), as shown by the en- 
graving annexed, which represents a 
Persian prince at the battle of Issus, 
from the great mosaic at Pompeii. 

2. Bracce laxcz {OvXclkoi). A pair 
of loose trowsers, worn in the same 




manner as the preceding, but more 
generally characteristic of the north- 
ern nations (Ovid. Trist. v. 7. 49. 
Lucan. i. 430.), as seen in the an- 
nexed figure, representing one of the 
German auxiliaries in the army of 
Trajan ; and of the Phrygians, amongst 
the Asiatics (Eur. Cycl. 182), conse- 
quently the usual costume of Paris. 

3. Braca' virgatce (Propert. iv. 10. 
43.), or pictcz (Vai. Flacc. vi. 227.1. 
Striped, checked, and embroidered 
trowsers, which were much worn by 
the inhabitants of Asia. See the next 
illustration. 



BRACAR1US. 



BRACHIAL E. 



8 9 



BRACA'RIUS. Strictly a trowser- 
maker (Lamprid. Alex. Scv. 24.) ; but 
in the Edict of Diocletian (p. 20.), a 
tailor in general, who made any kind 
of vest. 

BRACATUS or BRACCATUS. 
In general, a person who wears trow- 
sers or pantaloons ; more especially 
intended to characterise the Asiatic 
or northern races (Cic. Fam. ix. 15. 
Pers. Sat. iii. 53.'), as distinguished 
from the Greeks, by whom they were 
never worn ; and from the Romans, 
by whom they were only adopted at a 
late period of the Empire, or by per- 
sons who affected a foreign style. 
Tac. Hist. ii. 20. 

2. Bracatus totum corpus, breeched 
from head to foot. An expression 
intended to describe a peculiar sort 
of costume commonly worn by the 
races who inhabited the shores of the 
Palus Mceotis (Mela, ii. I.), and 




often seen on the figures of Amazons 
on the Greek fictile vases, from one 
of which the illustration here intro- 
duced is taken. It was a dress 
which formed a pair of pantaloons 
below, and a sort of waistcoat or 
jacket above ; but was made all in 
one length, as the phrase indicates, 
and as is clearly shown by a figure 
in Winkelman [Mon. Ined. No. 149.), 
which leaves exposed the portion 
here concealed by the kilt. 

3. Bracatus miles. A trowsered 
soldier ; which means, when the 
phrase is used with reference to the 
republican or early Imperial period, 
a foreign soldier or auxiliary (Pro- 



pert, iii. 4. 17.) from any of the 
nations who wore long trowsers as 
their national costume (see the cut of 
Braca: 2. and many other examples 
on the Column of Trajan) ; but from 
the days of Alexander Severas, and 
subsequently, these articles of apparel 
were also adopted by the Roman 




soldiers (Lamprid. Alex. Sez>. 40.), 
and may be seen on those figures of 
the arch of Constantine, which were 
executed at the period when the arch 
was built, and not taken from the 
works of Trajan, one of which is 
here introduced ; consequently, in any 
writings of this period the phrase 
is equally characteristic of the Ro- 
mans themselves. 

4. Bracata Gallia. A department of 
Gaul, so called from the long breeches 
or trowsers worn by its inhabitants. 
It was subsequently termed Gallia 
Narbonensis. Mela, ii. 59. Plin. 
H. N. iii. 5. 

BRACHIA'LE {7repippa X i6uiov). 
A piece of defensive armour which 
covered the brachium, 
or part of the arm be- 
tween the wrist and 
elbow. It is distinctly 
mentioned by Xenophon 
{Cyrop. vi. 4. 2.) as 
part of the accoutre- 
ments worn by the Per- 
sians, and is sometimes 
seen on figures of Ro- 
man gladiators, though 
name does not occur in this sense, 
except, perhaps, Trebell. Claud. 14., 




9 o 



BR EPHO TR OP HE UM. 



BUCCULA. 



where, however, it may mean a 
bracelet. The example here intro- 
duced is from an original of bronze, 
which was found, with other pieces 
of armour, at Pompeii, and probably 
belonged to a gladiator. The rings 
by which it was fastened on the front 
of" the ann are seen at the side. 

BREPHOTROPHE'UM and 
BREPHOTROPHI'UM (/3pe0o- 
rpcxpdov). A foundling-hospital ; both 
words, however, the Latin as well as 
Greek, are of a late date, not occurring 
before the age of the Christian empe- 
rors, when foundlings were declared to 
be free, and those who received or 
educated them were forbidden by law 
to detain, or sell them as slaves (Imp. 
Justin. Cod. i. 2. 19.) ; for while the 
exposure, sale, or giving in pawn of 
children was commonly permitted 
and practised, it is not likely that any 
establishment of this kind would be 
maintained at the public expense. 

BUBI'LE (poavXos or -ov), A 
cow-shed, cow-house, or stall for oxen. 




(Phasdr. ii. 8. Cato, R. R. 4. Colu- 
mell. i. 6. 4.) The illustration, which 
might almost have been sketched 
from a modern farm-yard, is copied 
from a miniature of the Vatican Virgil. 
BUB'SEQUA. A cow-boy, who 




drives the cattle to and from their 
pastures, &c. (Apul. Met. viii. p. 152. 
vSidon. Ep. i. 6.) The example is 
from the Vatican Virgil. 

BUBUL'CUS (I3ovk6\os). In a 
general sense, a cow-herd, neat-herd, 




or herdsman (Virg. Eel. x. 9.), who 
tends, manages, and has the general 
care of the cattle on a farm ; in 
which sense ■ the term pastor is more 
j common. The illustration is from an 
engraved gem. 

2. More especially and frequently, 
a countryman who drives a team of 
oxen attached to the plough (Coiumell. 

ii. 5. 2. ii. 13. 1. ii. 2. 25.), as shown in 
the illustration s. Arator ; or to a 
waggon of any kind. Ovid. Trist. 

iii. 12. 30. 
BUCCELLATUM. A hard sob 

dier's biscuit, which was distributed 
for rations upon a march. Spart. 
Pescenn. Nig. 10. Ammian. xvii. 8. 2. 

BUCCULA (irapayvadLs). The 
cheek-piece of a helmet, which was 
furnished with one on each of its 
sides, attached by hinges, so as to 
be lifted up. and down at pleasure. 
In active exercise the buccnlce were 
fastened under the ^- — 
chin ; when the 
wearer was " at /^pL ^| 
ease," they were jfjp 
frequently tied up 
over the top of /^^Y^^fcf 
the skull-cap. (See (j J|) (|ljp 
the illustrations s. l\j§y 
Galea. Liv. xliv. 
34. Juv. x. 134.) The engraving 
shows one side of an original bronze 
helmet found in a tomb at Psestum, 



BUCCULARIUS. 



BULLA. 



■with the cheek-piece depending from 
it. 

BUCCULA'RIUS. One who 
made, or affixed cheek-pieces {buc- 
culce) to helmets. Aurel. Aixad. Dig. 
50. 6. 6. 

BU'CINA and BUC'CINA 
(fivK&vri). A particular kind of horn, 
formed in spiral twists (Ovid. Met. i. 




336.), like the shell of the fish out of 
which it was originally made, as 
shown by the annexed engraving, 
from a small bronze figure once be- 
longing to Blanchini. In this, its 
earliest form, it was commonly used 
by swine and neat-herds to collect 
their droves from the woods (Varro, 
R. R. ii. 4.20. Id. hi. 13. 1. Prop, 
iv. 10. 29.) ; by the night watch, and 
the Accensi, to give notice of the 
hours by night or day (Prop. iv. 4. 
6. Seneca, Thy est. 798. ) ; and in 
early times, to summon the Quirites 
to the assembly, or collect them upon 
any emergency. Prop. iv. i. 13. 

2. The bucina was also employed 
as one of the three wind instruments 
with which signals were made, or 
the word of command given to the 
soldiery (Polyb. xv. 12. 2. Virg. 
Mn. xi. 475. Veget. Mil. iii. 5.); 
but the military instrument was then 
of a different form, having a larger 
mouth made of metal, and bent round 
underneath {qu<z in semetipsam areo 
circulo flectitur, Veget. /. c), of which 
kind a specimen is here given, from 




a marble bas-relief, published by 
Burney, Hist, of Music, vol. i. p. 6. 



BUCINATOR or BUCCINA'- 
TOR {(3vKavr)T7)s, or ^vKaviarrjs). 
One who blows the horn, called 
bucina (Polyb. ii. 29. 6. Id. xxx. 13. 
II. Cces. B. C. ii. 35.), which in 
addition to the uses mentioned in the 
last article, was also employed for 
making signals on board ship, as in 
the example, from a terra-cotta lamp, 




which represents a ship coming into 
port ; the sailors are furling the sails, 
while the master signalises its arrival 
by sounding the bucina. 

BUL'GA. A small leathern bag, 
which was carried on the arm (Non. 
s. v. p. 78. ed. Mer- 
cer), in the same 
manner as the mo- ( 
dern reticule, by 
travellers, who used JT>> 
it as a money bag (f> 
(Lucil. Sat. vi. p. 20. y^y 
I. ed. Gerlach. Varro 
ap. Non. /. c. ) ; and 
by agriculturists, as a pouch, con- 
taining the seed at sowing time (the 
Trrjpa airepfjLO(f>6pos of the Greek An- 
thology), to which use the example 
here given was applied ; it is borne 
by a figure furnished with various 
implements of husbandry on a beauti- 
ful silver tazza of the Neapolitan 
Museum. Mus. Borb. xii. 47. 

BULL A. Literally a ivater 
bubble ; whence the word is applied 
to various ornaments of a globular 
form, or which possess some affinity 
in shape to a bubble, viz, 




9 2 



BULLA. 



BUR A. 




1. The head of a nail ; made of 
rich and elaborate designs in bronze, 
or sometimes gold 
(Cic. Verr. v. 57.), 
and used for orna- 
menting the external 
panels of a door. 
The example is from 
an original of bronze, and represents 
one of the nail heads which decorate 
the ancient bronze doors of the Pan- 
theon at Rome. 

2. A boss or stud of the precious 
metals or other valuable material, 
affixed as an orna- 
ment to other objects ; 
as, for instance, to a 
girdle, shoulder belt, 
sword sheath, &c. 
(Virg. Alii, ix. 359.) 
The example is from an original in 
ivory found in the catacombs at Rome. 

3. Bulla aurea. A golden orna- 
ment, worn by the Roman children 





of noble families. (Plin. H. N. 
xxxiii. 4.) It consisted of two con- 
cave plates of gold fastened together 
by an elastic brace of the same 
material, so as to form a complete 
globe, within which an amulet was 
contained. (Macrob. Sat. i. 6.) 
The illustration represents an original 
which was found at Roma Vecchia 
(Ficoroni, Bolla a 1 " 1 Oro, p. 8.), and is 
drawn of one-third the actual size. 

4. Bulla scortea. An ornament of 
a similar description, only made of 
leather, instead of gold, which was 
worn attached to a thonij of the same 



material {lonwi, Juv. v. 165.), by 
the children of freedmen and of the 




lower classes. (Ascon. in Cic. Verr. 
v. 58.) The example is from a 
small bronze statue found at Perugia, 
in which the details of the band by 
which it was fastened round the neck 
clearly indicate that it was made of a 
leather plat. 

BULL AT US. Wearing the 
bulla ; which was suspended by a 
fastening round the neck, so as to 
hang in front of the breast. It was 
so worn by Roman children, until 
they attained the age 
of puberty, when it 
was laid aside, toge- 
ther with the pnc- 
texta, and dedicated 
to the tutelary dei- 
ties of their house. 
(Scipio Afr. ap. Ma- 
crob. Sat. ii. 10. Pers. 
Sat. v. 31.) The il- 
lustration is from a 
bas-relief in terra 
cotta, and represents 
a youth with his tablet at school. 

BUL'LULA. Diminutive of 
Bulla. An ornament, worn by 
females round their necks, of similar 
character to the last, but of smaller 
dimensions, and made of gold, silver, 
bronze, or of precious stones. In- 
script. ap. Ficoroni, Bolla d' Oro, 
p. 26. Hieron. in Isai. ii. 3. 18. 

BU'RA or BU'RIS (71*175). The 
plough tail (Varro, R. R. i. 19. 2.); 
i.e., the hinder part of an ancient 
plough formed out of the branch of a 
tree, or a single piece of timber, bent 
at one end into a curve (Virg. Geor°: 
i. 169.), like an ox's tail (/3o6s ovpa), 




■ 



BUSTUARIUS. 

from which resemblance the Latin 

name originated. (Serv. ad Virg. 

/. c. Isidor. Orig. xx. 14. 2.) The 



illustration represents an ancient 
plough, from an engraved gem ; the 
bent part on the left hand is the 
bum ; the short hook under it, shod 
with iron, acted as the share (vomer) ; 
the upright stock, formed by a 
natural branch growing out in an 
opposite direction, the handle (stiva), 
by which the ploughman guided his 
machine ; and the straight end, pro- 
ceeding horizontally from the curve, 
a pole (tenia), to which the oxen were 
attached. Compare also ARATRUM, 
2., where the same part is shown 
upon a Greek plough of improved 
construction at the letters A A. 

BUSTUA'RIUS. A gladiator 
who engaged in mortal combat round 




the funeral pyre at the burning of a 
body ; a custom which originated in 
the notion that the manes were ap- 
peased with blood, and the conse- 
quent practice of killing prisoners 
taken in war over the graves of those 
who were slain in battle. (Serv. ad 
Virg.sEu. x, 519. Cic. Pis. 9. Com- 
pare Horn. //. xxi. 26. Floras, iii. 
20. 9.) The illustration is from an 
engraved gem ; the character of the 
figure is indicated by the sepulchral 
pyramid in the background. 

BUS'TUM {tv^os, Kawrpa). A 
vacant space of ground, on which a 
funeral pile was raised, and the corpse 



BUXUM. 93 

burnt ; but expressly so termed when 
this area was contained within the 
sepulchral enclosure, and contiguous 
to the tomb in which the ashes were 
afterwards deposited. It is, therefore, 
to be considered in the light of a 
private or family burning ground, in 
contradistinction to the Cstriuum, or 
public one. Festus, s. v. Lucret. iii. 
919. Cic. Leg. ii. 26. Suet. Nero, 38. 
Strabo, V. iii. 8., of the one attached to 
the Mausoleum of Augustus in the 
Campus Martius. 

BU'TYRUM (fioiTvpov). Butter; 
an article which does not appear to 
have been either of Greek or Roman 
invention, but to have come to the 
former people from the Scythians, 
Thracians, and Phrygians, and to 
the latter from the nations of Ger- 
many. After they had become ac- 
quainted with the manner of making 
it, it was only used as a medicine, or 
as an ointment in the baths, but not 
as an article of food, nor in cookery ; 
and it would moreover appear that 
they were unable to make it of the 
same firmness and consistency as we 
do, or to work it beyond an oily or 
almost liquid state, for in all the 
passages in which the word occurs it 
is spoken of as something fluid and 
to be poured out. Columell. vi. 12. 
5. Plin. H. N. xi. 96. Id. xxviii. 
35. Beckman, History of Inventions, 
vol. i. p. 504-7. London, 1846. 

BUXUM (tti^os). Box-zaood; an 
article much employed by the ancients, 
as it is with us, on account of its con- 
sistency and fitness for working ; 
whence the word is commonly used 
to signify any of the various articles 
made of such wood ; for example : — 

1. A boy's whipping-top. Virg. 
Mn. vii. 382. Pers. Sat. iii. 51. 

2. A box - wood flute or pipe. 
(Ovid. Met. xiv. 537. Prop. iv. 8. 
42. ) A pair of box-wood pipes from 
Greece are preserved in the British 
Museum. See Tibia. 

3. A box-wood comb. (Ov. Fast. 
vi. 229. Juv. xiv. 194.) See Pecten. 

4. (t»Jw). A box -wood tablet, 



94 



CACABULUS. 



CAD US. 



covered with wax. for writing on. (Prop, 
iii. 23. 8.) See Cera, Tabella. 



C. 



or CACAB'- 
Diminutive of 
I. 

CAC'CABUS 
KaKKaftos). A 




CACAB'ULUS 

ULUM {KCLKKdplOV). 

Cacabus. Apic. iv. 

CA'CABUS or 
(/ca/c/cd/3 77, K<XKKa(3is, 
pot for boiling meat, 
vegetables, &>c. (Varro, 
L. L. v. 127. ), which 
was placed immedi- 
ately upon the fire, or on 
a trivet {tripus) stand- 
ing over it. (Compare 
Ahenum.) The com- 
mon sorts were made of earthenware ; 
whence, when other kinds are re- 
commended, the material is always 
specified by a characteristic epithet, 
as a tin pot (stagneus, Columell. xii. 
42. 1.); a bronze pot [teneus, Id. 
xii. 48. I,); a silver pot [argenteus, 
Ulp. Dig. 34. 2. 20. ) The example re- 
presents a bronze original, from Pom- 
peii ; a specimen in use, and upon a 
trivet, is given under Tripus t. 

CADUCEA'TOR. A general 
name for any person who was sent 
out from one belligerent party to 
another, carrying the wand of peace 
{caduceus) ; or, as we should express 
it, the bearer of a flag of truce. The 
persons of those employed upon such 
missions were at all times held sacred 
and inviolable. Liv. xxxii. 32. Cato, 
ap. Fest. s. v. See also Ceryx and 
Fetialis. 

CADU'CEUS or CADU'CEUM 
(KrjpvKeLov, K-rjpvKLov). In general, a 
herald's wand (Cic. de Orat, 
i. 46.), which consisted of a 
simple olive stick, ornamented 
with garlands (Midler, Archao- 
logie der Kunst, p. 504. and 
the illustration to Ceryx 2.) ; 
but the word is more specially 
applied to the wand assigned 
by ancient artists and poets 
to Mercury {caduceus Mercurialis, 
Apul. Met xi. p. 245.). in his ca- 



pacity of herald or messenger of the 
gods. In this, the place of the gar- 
lands is occupied by snakes ; in 
allusion to the fable which, states 
that Mercury, observing two snakes 
fighting with one another, separated 
them with his staff; whence a stick 
thus decorated came to be adopted 
as the emblem of peace. (Hygin. 
Astron, ii. 7. Macrob. Sat. i. 19.) 
Both these characteristics, the olive 
stick and the snakes for garlands, 
are clearly represented in the ex- 
ample, which is copied from a se- 
pulchral urn, Sometimes a pair of 
wings are added on the top, as in the 
next illustration. 

CADU'CIFER. In general, one 
who carries the caduceus, but more 
especially used as a characteristic 
epithet of Mercury, by which it is 




implied that he is the messenger of 
heaven. (Ov. Met. viii. 627. Id. 
Fast. v. 449.) The illustration is 
from a Roman marble. 

CADUS (k<L8os). A large earthen- 
ware jar, used chiefly for holding 
wine (Mart. iv. 66. 8. Virg. 
JEn. i. 195. Id. Cop. 11.) ; 
but also employed for other 
purposes - — to contain oil, 
honey, dried fruits, salted 
fish, meats, &c. (Mart. i. 
44. 9. Id. i. 56. 10. Plin. 
H. N. xv. 21. Id. xviii. 73.) 
It had a narrowish neck and 
mouth, which could be 
closed with a stopper or cork bung 
(Plin. H. N. xvi. 13.), and a body 
which was pointed at bottom; and 




[ CML UM. 

possessing the general shape of a 
boy's whipping-top [turbines cado- 
rum, Plin. H. N. xxvii. 5.) ; all 
which characteristic properties are 
observable in the illustration, from 
an original discovered amongst 
various other sorts of vessels in an 
ancient wine cellar, of which the plan 
and elevation is introduced under 
Cella. 

CAELUM {y\v<pavov). The chisel 
or graver used by persons who prac- 
tise the art of chasing {ceelatura) 
in metals. Isidor. Orig. xx. 4. 7. 
Quint, ii. 21. 24. 

2. See Ccelum. 

CEMENTA'RIUS (kitoXbyos). 
One who builds rough walls of un- 
hewn stones [ccementa). Hieron. Ep. 



'CEMENITCIUS. Built of un- 
hewn stones. The ancients adopted 




two ways of building with rough 
quarry stones ; one, in which very 
large irregular masses were laid to- 
gether without mortar, but having 
the interstices filled in with the 
smaller chippings, as shown in the 
illustration above, which represents a 
portion of the very ancient walls of 
Tiryns ; this kind they termed ccc- 
menticia structura antiqua. (Vitruv. 
ii. 8. Liv. xxi. 11.) The other, very 




C /EST US. 95 

generally practised by the Romans, 
consisted of small irregular pieces, 
imbedded in mortar, so as to take 
any architectural form, as shown by 
the annexed illustration, which re- 
presents a portion of the Villa of 
Maecenas at Tivoli, the ancient 
Tibur. This was called ccementicia 
structura incerta (Vitruv. ii. 8.), and 
was mostly intended to be covered 
over by a coating of cement. 

C/EMEN'TUM. Rough quarry 
stones, which were used for building 
walls in the manner described, and 
illustrated under the preceding word ; 
including the large irregular masses 
employed for the walls of a citadel or 
fortified town (Liv. xxi. "II. Vitruv. 
i. 5. 8. ; \i8ol Xoyddes, Pans. vii. 22. 3. 
and last cut but one), as well as the 
smallerfragments or chippings (Karvirrj, 
(XKvpos), more generally adopted in 
domestic architecture. Cic. Mil. 27. 
Vitruv. ii. 7. 1. Id. vi. 6. 1. and 
last illustration. 

C^ESARTES. Is nearly synony- 
mous with Coma ; but implies also a 
sense of beauty ; i.e., as we should say, 
a becoming head of hair ; profuse and 
abundant when applied to women 
(Ovid. Am. iii. r. 32.) ; thick, long, 
and waving, like the Greek busts of 
Jupiter, Bacchus, and Apollo, when 
applied to men (Plaut. Mil. i. 1. 64. 
Liv. xxviii. 35. Virg. -ALn. i. 590.) ; 
whence the same word is also used to 
designate a grand and majestic beard. 
Ov. Met. xv. 656. 

C.ENA. See Coena. 

C.ESTRUM. See Cestrum. 

C>/ESTUS (ifxavres, fitip/iirit;). Box- 
ing gauntlets worn by the ancient 
prize-fighters (Cic. Tusc. ii. 17. 
Virg. y-Eu. v. 379.) ; which consisted 
of leather thongs bound round the 




hands and wrists (Prop. iii. 14. 9.) 



96 



CMTRA. 



CALANT1CA. 



and sometimes reached as high up as 
the elbow (illustration s. Pugil), and 
armed with lead or metal bosses, as 
in the examples, from an ancient 
statue. 

OETRA. See Cetra. 

CALAMA'RTUS. Theca cala- 
maria {KaXafiis). A pen-holder, or 
case for carrying writing reeds. 
(Suet. Claud. 35. Mart. Tit. in Ep. 
xiv. 19.) It is probable that these 
cases also contained an ink-bottle, 
like those now used by our school-boys; 
whence the same word calamajo, in 
the common language of Italy, 
means an "ink-stand." 

CALAMI S'TER, CALAMIS'- 
TRUS, CALAMIS'TRUM (/caXa- 
(xi's). A pair of curling-irons ; 
so termed because the outer part 
was hollow on its inside like a 
reed {calamus) though, like our 
own, they were made of iron, and 
heated in the fire, to produce 
artificial curls in the hair. ( Varro, 
L. L. v. 129. Cic. Post Red. i.7. 
Pet. Sat. 102. 15.) The illustra- 
tion is copied from a sepulchral 
basrelief in the Florentine Gal- 
lery, on which it appears amongst vari- 
ous other articles of the toilet ; the 
curling part alone is indicated on the 
marble, as here represented, but that is 
sufficient to show that the instrument 
was similar in character to the one 
still employed for the same purpose. 

CALAMISTRATUS. Having 
the hair artificially curled with the 
irons (calamister) ; a practice very 
prevalent at Rome, both amongst men 
and women, in the time of Plautus, 
Varro, and Cicero. Plaut. As. iii. 3. 
37. Cic. Post Red. i. 6. 

CAL'AMUS (K<xXa/xos). Literally 
the haulm or stalk of any tall plant, 
but more especially of the reed or 
cane ; whence it is applied in the same 
way as the word Arundo, and to de- 
signate a similar class of object ; as 

1. An arrow. Hor. Od. i. 15. 17. 
Arundo 2. 

2. Pan's pipes. Virg. Eel. ii. 33. 
Arundo 6. 



3. A fishing-rod. Tibull. ii. 6. 23. 
Arundo 3. 

4. A fowler's lime-tipped rod. 
Mart. Ep. xiv. 2 1 8. Arundo 4. 

5. A writing-reed. Cic. Att. vi. 8. 
Hor. A. P. 447. Arundo 5. 

6. Also a tall reed or cane, set up 
as a sign-post in the sandy deserts of 
Egypt. Plin. H. N. vi. 33. 



CALANTTCA 
or CALVAT'ICA 
cap fastened on 
by a ligature 
round the head, 
with a kind of 
curtain or lappets 
hanging down 
on both sides as 
far as the tips 
of the shoulders 
(Eustath. ad. II. 
xiv. 184.), so that 



CALAUT'ICA, 
(k pr)8e fj.vov) . A 




Hiieht be 



drawn together at pleasure, and made 
to conceal the whole face. (Horn. 
Od. i. 334. //. xiv. 184.) It was 
commonly worn by the Egyptians of 
both sexes (Riddle, s. v.), and is con- 
sequently of frequent occurrence in the 
paintings and sculptures belonging to 
that nation, precisely similar to the 
example here introduced, which is 
copied from a statue of Isis in the 
Capitol at Rome. When adopted by 
the Greeks and Romans, its use was 
confined to the female sex (Non. 
Marc. s. v. p. 53 7. ), or to persons 
who affected a foreign or effeminate 
costume. Cic. Fragm. Or. ,11 Clod. 
p. 115. ed. Amed. Peyron. Lips. 
1824. 

The affinity of the Greek and 
Latin words, and their identity with 
the figure in the engraving, may be 
established thus. The Greek term 
is derived from Kpds, and 5ew or Se'/xo, 
meaning literally that which is fas- 
tened by a ligature to the head, and 
Nonius (/. c.) gives a similar inter- 
pretation to the Latin one — quod 
capiti innectitur : whilst Ausonius 
(Perioek. Od. $.), translates the 
tcpi'iSe/ivov of Homer by the Latin 
calantiea or calvatica. The illustra- 



CALA THISCUS. 



CALCAR. 



97 



tion and derivation of the Greek 
word also explain another of the 
senses in which it is used (Horn. Od. 
iii. 392. ) ; viz. a leather cap tied 
over the mouth and bung of a vessel 
containing wine or other liquids, 
which the lexicographers erroneously 
translate, " the lid of a vessel." The 
illustration moreover will explain 
why Cicero (/. c. ) and Servius {ad 
Virg. JE11. ix. 616.) use the words 
calantica and mitra as nearly con- 
vertible terms (compare the illustra- 
tions to each word) ; and, at the same 
time, account for one of the Latin 
names, calz-atica, which is probably 
the only true one, because in Egypt 
it really was used to cover the bald 
heads of the priests of Isis {grege calvo, 
Juv. Sat. vi. 533.), and at Rome by 
old women who had lost their hair, as 
in the medal of Aurelia, the mother 
of Julius Caesar (Guasco, Ornatrici, 
p. 91.), which is fastened round the 
head with a band, precisely like the 
example introduced above. 

CALATHIS'CUS { K a\a9i<rKos). 
Diminutive of CALATHUS. Catull. 
Ixiv. 320. 

C A L'A THUS (KdXados). A 
woman's work-basket (Virg. Ain. vii. 
805.), made of wicker- 
work, and gradually 
expanding upwards 
towards the top (Plin. 
H. A T . xxi. II.); espe- 
cially employed for 
containing the wool 
and materials for spinning (Juv. Sat. 
ii. 54.), as in the example, which re- 
presents Leda's work-basket, from a 
Pompeian painting, with the balls of 
wool and bobbins in it. 

2. A basket of precisely the same 
form and material, employed out of 
doors for holding fruit, flowers, 
cheese, &c, which is of very com- 
mon occurrence in ancient works of 
art. Virg. Eel. ii. 46. Id. Georg. iii. 
400. Ov. A. Am. ii. 264. 

3. A drinking-cup, which we may 
naturally infer to have been so termed, 
because it resembled a woman's work- 




basket in shape ; as shown by the 
figure in the illustration, held 
by a cupbearer in one of the 
miniatures of the Vatican 
Virgil. Virg. Ed. v. 7 1. 
Mart. Ep. ix. 60. 15. Id. xiv. 107. 

4. The modius, or bushel, which 
was placed as an ornament upon the 
top of the head of 
Jupiter Serapis, 
(Macrob. Sat. i. 
20.), and which, 
as seen in the ex- 
ample, from an en- 
graved gem re- 
presenting the 
head of* Serapis, 
possessed the same 
form as a woman's 
work-basket. 

CALA TOR. . 
particularly one who was attached to 
the service of the priesthood (Suet. 
Gramm. 12.). whose duty it was to 
precede the high priest on his way to 
the sacrifice, and put a stop to any 
kind of work, which it was considered 
would pollute the ceremony on a fes- 
tival or holy day. Serv. ad Virg. 
Georg. i. 268. 

2. A private servant or messenger. 
Plaut. Merc. v. 2. 11. Id. Rud. ii. 

J CALAUT'ICA. See Calantica. 

CALCAR {eyKei>Tpis. Pherecr. 
Com. ap. Poll. x. 54. fxvibip. Theo- 
phrast. Char, xxi.) A horseman's spur 
(Plaut. As. iii. 3. 118. Virg. vi. 




publ 





882.) ; so called, because it was affixed 
to the heel {calx) of the rider (Isi- 
dor. Orig. xx. 16. 6. Compare Virg. 
JEn. xi. 714.); whence the manner 
of applying it is clearly illustrated by 
G 



9 8 



CALCA TOR. 



CALCEOLARIUS. 



the expression subdere equo calcaria. 
(Curt. vii. 4. compare iv. 16.) The 
right-hand figure in the annexed 
engraving represents an original 
from Caylus (Recueil iVAnliq. vol. iii. 
pi. 59. No. 5.), and closely resembles 
one found at Herculaneum, excepting 
that the latter has its point formed 
like a lance head, or lozenge shaped. 
All the ancient spurs are like these, 
with a simple goad, calcis aculeus 
(Columell. viii. 2. 8., where it is 
applied to poultry), and not rowelled. 
The left-hand figures present a side 
and back view of the left foot of a 
statue in the Vatican, representing 
an Amazon, and show the straps and 
fastenings by which the spur was 
fixed to the foot ; the goad itself is 
broken off, but the place from which 
it projected is clearly seen. The right 
foot of the statue is not equipped in 
the same way ; from which circum- 
stance some antiquaries incline to the 
belief that the ancients only rode 
with one spur, and that one on the 
lefc leg. 

2. In like maimer, the spur which 
grows out from the heel of a cock. 
Columell. viii. 2. 8. 

CALCA'TOR {\r]Pol3dT7)s). One 
who crushes grapes for making wine, 
by treading them out with the naked 
feet, as is still the practice in Italy. 
(Calpurn. Eel. iv. 124.) In the il- 
lustration, from a bas-relief in the 
Library of St Mark at Venice, the 




operation is performed by two per- 
sons only, represented as Fauns ; 
but in other ancient works of art, as 



many as seven persons are seen in 
the vat at the same time, sometimes 
supporting themselves by ropes over 
head, but more commonly with 
crutch-handled sticks, like those in 
the annexed engraving. 

CALCATO'RIUM. A raised 
platform of masonry in the cellar 
attached to a vineyard {cella vinaria), 
which was ascended by two or three 
steps, and intended to form a gang- 
way on a level with the tops of the 
large vessels (dolia, cuj>ce), in which 
the wine was kept in bulk, for the 
convenience of the persons who super- 
intended its manufacture and sale. 
(Pallad. i. 18. I.) It was so called 
a calcando, or ab opere calcato ; and 
is incorrectly explained in the dic- 
tionaries, where it is taken for a vat 
in which the grapes were trodden 
out (see the preceding woodcuO ; 
for a contrivance of that description 
belongs clearly to the press-room 
(torcularium), in which the wine was 
made, and not to the cellar [cella 
vinaria), in which it was stored. 
Cato designates the same thing by 
the term siiggestum. R. R. 154. 

CALCEA'MEN. Same as Cal- 
ceus. 

CALCE AMENTUM. A gene- 
ral term, expressive of all kinds of 
covering for the feet ; including the 
various descriptions of boots and 
shoes enumerated in the classed Index. 

CALCEOLA'RIUS. A shoe- 



maker. (Plaut. Aul. iii. 5. 38.) 

f 



The 




illustration is from a painting exca- 
vated at Resina. representing the 
interior of a shoemaker's shop, in 
which the two genii here figured 
are employed at their trade. 



CALCEOLUS. 



CALCEUS. 



99 



CALCE'OLUS (virohriixdTiov). 
Diminutive of Calceus ; a small 




shoe or boot ; and thence more espe- 
cially applied to those worn by 
women. (Cic. N. D. i. 29.) The 
engraving represents three specimens 
of women's shoes from the Pompeian 
paintings, of the most usual descrip- 
tions. It will be observed that all of 
them reach as high as the ankle, are 
made with soles and low heels, and 
with or without ties ; but those 
which are tied are either fastened by 
a cord drawn in a hem round the 
top, or have merely a slit over the 
instep, through the sides of which 
the lace is passed, and not lappets, as 
was more usual in men's shoes. (See 
the next illustration.) There does 
not appear to have been any material 
difference between the shoes of the 
Greek and Roman females ; but many 
of the latter wore the same as the men. 
Ael. V. H. vii. 11. 

CAL/CEUS (virohriixa. koVKov, ko\c- 
klol, Polyb. xxx. 16. 3.). A shoe ox boot, 




made upon a last and right and left 
(Suet. Aug. 92.), so that it would com- 
pletely cover the foot, as contradistin- 
guished from the sandal, slipper, &c, 
which were only partial coverings (Cic. 
Hor. Suet. Plin.). The illustration re- 
presents a lace-up or half boot, from a 
bronze vase in the Collegio Romano, 
and two men's shoes of the ordinary 
kind, from paintings at Pompeii. 

2. Calceus patricius. The shoe 
worn by the Roman senators, which 
was of a different character from that 
worn by the rest of the citizens, 



whence the expression calceos matare 
(Cic. Phil. xiii. 13.) means, "to 
become a senator." It was fastened 





by straps crossing each other over 
the instep (Isidor. Orig. xix. 34. 4.), 
and then carried round the leg as fat- 
as the bottom of the calf, as is fre- 
quently seen on statues draped in the 
toga, and in the manner represented 
by the annexed figures, of which the 
front view is taken from a bronze, 
the side one from a marble statue. 
A lunated ornament, called Lunula, 
was moreover attached to them, for 
an account of which see that word. 

3. Calceus repandus. A shoe 
with a long pointed toe bent upwards 
or backwards. (Cic. 
Nat. Deor. i. 29., but 
the diminutive is used 
because applied to a 
female.) This form 
appears to have been of a great anti- 
quity, for it is frequently seen in 
Egyptian and Etruscan monuments, 
from which latter people it came, like 
many other of their fashions, to the 
Romans, and remained in common 
use. in many parts of Europe until a 
late period of the middle ages. The 
illustration here given is Etruscan 
(Goii, A/us. Etrusc. tab. 3. and 47.), 
but it resembles exactly the shoes 
worn by a figure of Juno Lanuvina 
on a Roman denarius (Visconti, 
Mus. P. Clem. torn. 2. tav. A. vii. 
No. 12.), which is draped in every 
respect as Cicero (/. c.) describes her. 
In a passage of Cato, quoted by Festus 
(s. Mulleos), the epithet uncinatus is, 
according to Scaliger's emendation, 
applied to a shoe of this character ; 
and the term uucipedes to the persons 
who wore them, by Tertullian, de 
Pall. 5. 



100 CALCULATOR. 



CALDARIUM . 




CALCULATOR. An account- 
ant (Mart. Ep. x. 62.) : so called 
because the ancients 
used to reckon with 
small stones {calculi) 
upon a board covered 
with sand. (Isidor. 
Orig. x. 43. Aba- 
cus.) The example 
is from an Etruscan 
gem, and represents an arithmetician 
sitting at a table on which the peb- 
bles for making his calculations are 
seen, while the counting board, in- 
scribed in Etruscan characters, which 
are interpreted to mean " a calcu- 
lator," is held in his left hand. 

CAL'CULUS tyfoos). Literally 
a pebble, or small stone worn round 
by friction, which was employed by 
the ancients for several purposes, as 
follows : — 

1. For mosaic work, Plin. H. N. 
xxxvi. 67. 

2. A counter for reckoning. Cic. 
Amic. 16. preceding woodcut, and 
Abacus. 

3. A pebble used in voting, which 
was thrown into the urn ; a white 
one to acquit, and a black one to 
condemn. . Ovid. Met. xv. 41. 

4. A counter employed in games of 
chance or skill, for the same purpose 
as our chess and draftsmen ; and 
the term is applied indiscriminately 
to the men employed in the Indus 
duodecim scriptorum or backgammon, 
and in the Indus latrunculorum, or 
draughts. Ov. Am. ii. 207. Val. 
Max. viii. 8. 2. Aul. Cell. xiv. I. 9. 

C AL D A'R T U M. The thermal 
chamber in a set of baths. (Vitruv. 
v. 10. Seneca, Ep. 86 Celsus, i. 4.) 
In all the baths which have been 
discovered, public as well as private, 
this apartment is constantly arranged 
upon a uniform plan, and consists of 
three principal parts ; a semicircular 
alcove (lacouicum) at one end (the 
right hand in the engraving), with a 
labrum upon a raised stem in the 
centre of it ; a vacant space in the 
centre of the room {sudatio, sudato- 



rium) ; and a warm water bath {alveus) 
at the other extremity — all which 




parts were essential to the ancient 
system of bathing. In the central 
portion, the bather exercised himself 
by lifting weights and performing 
gymnastics, for the purpose of ex- 
citing perspiration ; he then sat down 
in the laconicum, and underwent a pro- 
fuse perspiration, superinduced by the 
hot air proceeding from the flues seen 
under the flooring of the room ; or 
entered the warm water bath, if pre- 
ferred, instead. It is probable that 
in the more magnificent and extensive 
structures, such as the Roman Thtr- 
moe, separate apartments were appro- 
priated for each of these operations ; 
but in the smaller establishments, 
such as the baths of Pompeii, and in 
private houses, the thermal chamber, 
in all the instances hitherto discovered, 
and they are many, is uniformly 
arranged in the manner described, and 
shown by the illustration, which repre- 
sents the section of a bath-room 
attached to an ancient Roman villa 
at Tusculum. The relative situation 
and arrangement of such chambers 
in connection with the other parts of 
the establishment, and the general 
ground-plan, will be understood by 
referring to the illustrations, s. Bal- 
INE^E, letters D and H ; and Balin- 
EUM, letter D. 

2. {iirvoXe^s, %a\/cetop). The boiler 
in which the warm water for supplying 
a bath was heated (Vitruv. v. 10.), 
as seen in the preceding illustration 
(where it is marked 2.), immediately 
over the furnace, with its conduit tube 



CA LEND A RTUM. 



CALIGARIUS. 



IOI 



intu the bath. See also AHENUM 2., I 
where the principle upon which the I 
ancients constructed and arranged ! 
their coppers is explained. 

CALENDARIUM tffiepoMytov). 
An almanack or calendar ; which, 
like our own, contained the astro- j 
nomical, agricultural, and religious j 
notices of each month in the year ; j 
the name of the month, the number J 
of days it contained, and the length 
of the day and night ; the sign of 
the zodiac through which the sun 
passes ; the various agricultural ope- 
rations to be performed in the month ; 
the divinity under whose guardian- 
ship the month was placed ; and the 
various religious festivals which fell 



MEN'SIS 
JAKT7AK . 
DIES . XXXI . 
>*OJT . QUINT . 
DLES . HOR . VITUS . 
>OX . HOR . XIIII . 
SOli . 
CAPRICORNO . 
TUTELA . 
JU2TONIS . . 
PAX.US 

AQcrruR . 

SALIX . 
HARUNDO 

SACRIF1CAX . 

DIS . 
PENAIIBUS . 



in it. The illustration represents an 
original of marble, found at Pompeii, 
with the inscription for the month of 
January, printed at length, as a spe- 
cimen of the whole, by its side. 

2. A ledger in which bankers and 
money-lenders kept their accounts 
with their customers ; so termed 
because the interest became due on 
the calencUz, or first day of the month. 
Seneca, Bene/, vii, 10. Id. Ep. 87. 

CALIC'ULUS (tcvXiiciov). Diminu- 
tive of Calix. 

CALIDA'RIUM. See Calda- 

RIUM. 

C ALIEN' DR U M. A sort of 
covering which Roman women some- 
times wore upon their heads, but the 
exact nature of which it is not easy to 
determine. (Hor. Sat. i. 8. 48. Varro, 
teste Porphyr. Schol. ad Hor. /. c. 
Acron. ib.) It was, however, a kind 
of head-dress, and probably in the 




nature of a cap, like that shown by 
the illustration, which is copied from 
an engraved gem representing a por- 
trait of Faustina the 
younger ; and might 
be made in different 
patterns ; for Ca- 
nidia wore a high 
one. (Hor. /. c.) 
Some think that the 
caliendrum was made 
of hair, and was a 
sort of wig. 

CAL'IGA. The shoe worn 
the Roman soldiery of the rank and 
file, including the centurions, but not 
the superior officers. (Cic. Att. ii. 3. 
Justin, xxxviii. 10. Juv. Sat. xvi. 24. 
Suet. Cat. 52.) It 
consisted of a close 
shoe, which entirely 
covered the foot (see 
Caligarius) ; had a 
thick sole studded 
with nails (Clavus 
Caligaris), and was 
bound by straps 
across the instep and 
round the bottom part of the leg, as 
represented in the illustration, from 
the arch of Trajan. 

CALlGA'RiUS. One who fol- 
lowed the trade of making soldiers' 
shoes {caligce). (Lamp rid. Alex. Set'. 
33. Inscript. ap. Grut. 649. I.) 





The example is from a sepulchral 
marble at Milan, which bears the 
inscription Sutor Caligarius, thus 
identifying the trade. It is of coarse 
execution, and has suffered from age, 
but is a valuable relic, because it 



102 



CALIGA TUS. 



CALONES. 



proves that the caliga was a close- 
fitting shoe, made upon a last, and 
not a sandal, which left the toes 
exposed, as has been generally in- 
ferred from Bartoli's engravings of 
the triumphal arches and columns. 
The workman appears to hold the 
handle of an awl in his right hand, 
and in the left a caliga on the last, 
while the fellow-shoe is on the table 
before him. 

CALIGA'TU S. Wearing the 
caliga, or soldier's shoe (Juv. Sat. iii. ' 
322), as seen in the last cut but one ; 
and thence by implication, a common 
soldier (Suet. Aug. 25. Id. Vitell. 7.), 
because its use was peculiar to the 
rank and file. 

CALIFTRA or CALYFTRA 
[KaXvirrpa., KciXv/x/na). A veil worn in 
public by the young women of Greece 
and Italy, for the purpose of conceal- 
ing the features from the gaze of 
strangers (Festus, s. v. Horn. Od. v. 
232. Soph. Ag. 245.), very similar to 
what the Turkish women still use. 
It was placed on the 
top of the head, and 
wrapped round the 
face in such a man- 
ner as to conceal 
every part of it ex- 
cept the upper por- 
tion of the nose and 
one of the eves 
(Eurip. Iph. T. 372.) 
and fell down over 
the shoulders to 
about the middle of 
the figure, precisely as seen in the 
illustration, from a small terra-cotta 
figure in the Collegio Romano. A veil 
of this kind was also worn by the brides 
of Greece (yEsch. Ag. 1 149. ), and the 
same costume is still preserved at 
Rome for the young women who re- 
ceive a dowry from the state on the 
festival of the Annunciation. 




CALIX (kv\l£>. 
cular wine - goblet 
of Greek invention 
(Macrob. Sat. v. 
21.). with a low 



A shallow cir- 




stem, and two small handles, like 
the example, from an original of 
terra-cotta ; frequently represented on 
their fictile vases in carousals and 
drinking scenes, and commonly met 
with in every collection, sometimes 
decorated with drawing, and at others 
merely covered with a uniform coal 
of lustrous black varnish. 

2. A sort of soup plate or vegetable 
dish, in which food of a liquid na- 
ture, and vegetables 
m o r e e sp e ci ally , Ave re 
cooked and brought 
to table. (Varro, 
L. L. v. 127. Ovid, 
Fast. v. 509.) The illustration an- 
nexed is from an original of earthen- 
ware found in the catacombs at 
Rome. The edges of the platter on 
which it stands, and which is in the 
same piece as the top, have suffered 
from time ; but the general form of 
the whole seems sufficiently applicable 
to the purposes described. 

3. A xvater -meter ; i.e., a copper 
cap or tube of certain length and 
capacity, attached to the end of a 
main pipe at the part where it was 
inserted into the reservoir of an 
aqueduct (castellum), or to the end of 
a branch pipe inserted in the main, 
for the purpose of measuring the 
quantity of water discharged into the 
pipe. Every private house and public 
establishment in the city of Rome 
was by law entitled to the supply of 
a certain quantity of water, and no 
more than what the law allowed ; 
it was measured out by means of 
the calix, the length and diameter of 
which being fixed, the number of 
cubic feet of water passing through 
it in a given time could be regulated 
to a nicety. Frontin. Aq. 36. 

CALO'NES. Slaves belonging 
to the Roman soldiery (Festus, s. v. ), 
who followed their masters to the 
field, waited upon them as servants, 
attended at their exercises, and per- 
formed all the duties required of a 
menial, such as carrying the vallum, 
&c. Cic. Nat. Deor. iii. 5. Serv. ad 



CALPAR. 



CA MINUS. 



Virg. AZneid. vi. I. and Nonius, s. v. 
p. 62. 

2. A farm-servant (Hor. Sat. i. 6. 
103.) ; a palanquin or sedan bearer 
(Senec. Ep. no.) ; and thus a menial 
generally. 

• CALPAR. An antiquated name 
Ifor Dolium ; which had already 
grown obsolete in the time of Varro, 
De Vit. Pop. Ro. ap. Non. s. v. p. 
546. 

CAL'THULA. An article of 
female attire which appears to have 
been much in vogue at the time of 
Plautus. {Epid. ii. 2. 49.) It is 
supposed to have received its name 
from the caltha (Non. Marc. s. v. 
p. 548.), the calendula officinalis of 
Linnceiis, which is a flower of a 
yellow colour ; but it is impossible to 
ascertain the exact nature of merely 
local or temporary fashions. 

CALVAT'ICA. See Calantica. 

CALX. The same as Linea 
Alba ; the chalked rope which 
marked the commencement and 
boundary of a race-course in the cir- 
cus ; but this term is mostly used in a 
figurative sense, to indicate the end 
of anything, especially of life, the 
course and casualties of which are 
often typified by the race, its chances, 
changes, and accidents. Cic. Sen. 23. 
Id. Tusc. 1. 8. 

CAM'ARA, or CAM'ERA (kcl- 
fidpa). Strictly speaking, is a Greek 
word adopted into the Latin language 
(Cic. Q. Fr. iii. 1. 1. Pallad. i. 13. 
I.), and used by the Roman archi- 
tects to designate the vaulted ceiling 
of a chamber, when constructed in 
wood and plaster (Vitruv. vii. 3. cf. 
Propert. iii. 2. 10.), instead of a re- 
gular arch of brickwork or masonry 
formed of regular intrados and 
voussoirs. This constitutes the real 
distinction between the terms camara 
and fornix ; but the former was also 
transferred in a more general sense 
to any kind of apartment or building 
which had a vaulted ceiling. It con- 
tains the elements of our word cham- 
ber, through the modern Italian ca- 



mera, their ordinary expression for a 
room of any kind. 

2. Camera vitrca. A vaulted 
ceiling, of which the surface was 
lined with plates of glass. Plin. 
H. N. xxxvi. 64. Compare Stat. 
Sylv. i. 3. 53. and i. 5. 42. 

3. A small vessel used by the 
Greek pirates, capable of containing 
from twenty-five to thirty men. It 
was of a very peculiar construction, 
being made sharp fore and aft, but 
round, large, and full in the centre or 
midship, with the ribs rising upwards 
from the water, and converging to- 
gether, so as to form a sort of roof 
over the vessel, from which pecu- 
liarity its name was derived. (Strabo, 
xi. 2. 12. Tac. Hist. iii. 47. A ul. 
Gell. x. 25. 3.) An old engraving 
by F. Huiis after the elder Breugel, 
and published by Jal {ArcJieologic 
Navale, vol. ii. p. 255.), exhibits the 
stern of a vessel constructed in the 
manner described, and probably pre- 
serves a trace of the ancient camara. 

CAMEL'LA. A wooden bowl 
for drinking out of, the form and 
peculiarities of which are entirely un- 
known. Ov. Fast. iv. 779. Pet. 
Sat. 135. §3. and 4. Id. 64. § 13. 

CAMILLUS (Kddov\os or Kddto- 
Aos). An attendant who waited upon 
the high priest while 
officiating at the sacri- 
fice ; as the Camilla 
was a young female 
who attended in like 
manner upon his wife. 
They were selected 
from the children of 
noble families (Ma- 
crob. Sat. iii. 8. Fes- 
tus, s. Flaminius), and 
are frequently repre- 
sented in ancient works 
of art, standing at the 
side of the priest or priestess, and 
bearing in their hands the vessels 
employed in the sacred rite. The 
example here introduced is from the 
Vatican Virgil. 

CAMI'NUS (Kdfitvos). A smelting 




104 



C A MINUS. 



furnace. ' (Plin. H. A T . xxxiii. 21.) 
The illustration represents the section 




and plan of a Roman smelting- fur- 
nace discovered near Wandsford in 
Northamptonshire. (Artis, Duro- 
briv. pi. 25.) A is the smelting-pot, 
below which the fire was kindled, as 
shown in the illustration to Forna- 
CULA ; B, the slag lying about as it 
ran from the furnace ; C. the channel 
which conveyed the metal into the 
moulds, D. 

2. A blacksmith 's forge (Virg. 
vi. 630. Juv. Sat. xiv. 118.), which, 
as shown by the annexed illustration, 
from a sepulchral marble at Rome, 




resembled in all respects those of our 
own days. The centre figure holds 
the iron on the anvil [incus) by a 
pair of pincers {forceps) ; under the 
anvil is a vessel with water, for 
plunging the heated iron and instru- 
ments into ; the fire is seen in the 
background ; and the bellows [follis), 
with a man working them, behind the 
left-hand figure. 

3. A hearth or fire-place in private 
houses, for the purpose of warming 



an apartment (Hor. Ep. i. 11. 19. 
Id. Sat. i. 5. 81. Suet. Vitell. 8.), or 
for cooking, such as in early times 
was constructed in the atrium, and 
which consisted of a mere stone 
hearth raised above the level of the 
floor, and upon which the logs of 
firewood were placed, but without a 
flue to carry away the smoke. 

4. It still remains a doubtful point, 
whether caminus ever means a chimney 
in our sense of that word, that is, a flue 
intended to carry off smoke through 
the different stories of a house, and 
discharge it above the roof ; as the 
passages which might be cited for that 
purpose are not at all conclusive. At 
the same time, the absence of any 
thing like a chimney on the top of a 
building in the numerous landscapes 
portrayed by the Pompeian artists, 
*and of any positive traces of such a 
contrivance in the public and private 
edifices of that town, affords sufficient 
evidence that, if known to the an- 
cients, it must have been very rarely 
applied ; consequently, in most 
houses, the smoke must have escaped 
through a mere opening in the roof, 
at the windows, or through the doors. 
But contrivances for making a fire in 
the centre of a room, accompanied at 
at least with a short flue, have been 
discovered in several parts of Italy, 
one at Baise, another near Perugia, 
and a third at Civita Vecchia, the 
plan of which is given 
in the annexed wood- 
cut, from a MS. by 
Francesco di Giorgio, 
preserved in the public 
library at Siena. The 
form is a parallelogram, entirely 
enclosed by a wall of ten feet high 
on three of its sides, but having an 
opening or doorway on the other. 
Within this shell are placed four 
columns with an architrave over 
them, which supported a small pyra- 
midal cupola, underneath which the 
fire was made on the hearth ; the 
cupola served to collect the smoke as 
it ascended, and allowed it to pass 



CA M PES TR E. 

out through an aperture in its top. 
If the edifices in which these stoves 
were constructed were only one 
story high, no flue, perhaps, was used ; 
but if, as is most probable, there 
were apartments above, it seems 
almost certain that a small flue or 
tube would have been placed over 
the vent hole of the cupola, in the 
same manner as it is in a baker's oven 
at Pompeii, which is represented in 
the annexed engraving ; though the 




original height cannot be determined, 
as only a portion of the ground story 
now remains. 

CAMPES'TRE. A kilt, fastened 
round the loins, and reaching about 




two-thirds down the thigh ; worn 
for the sake of decency by gladiators 
and soldiers while training, or by 
persons taking violent exercise in 
public, when otherwise divested of 
clothing (Hor. Ep. i. 1 1. 18. Augus- 
tin. Civ. Dei, xiv. 17.); so called 
because these exercises were com- 
monly performed in the Campus 



CANALIS. 105 

Martins. In very hot weather it 
was also worn by some persons, 
instead of a tunic, under the toga. 
(Ascon. in Cic. Oral pro Scauro.) 
The illustration represents a gladiator 
with the cawpestre, from a terra-cotta 
lamp. 

CAMPICUR'SIO. A sort of re- 
view, or exercise performed by the 
Roman soldiery in the Campus Mar- 
tins. Veget. Mil. hi. 4. 

CAMPIDOC'TOR (oTrXoSiOa/cr^s). 
A drill sergeant, who taught the re- 
cruits their exercises in the Campus 
Martius. Veget. Mil iii. 6. and 8. 
Ammian. xv. 3. 10. 

CANALIC'ULA. Diminutive of 
Canalis ; a small drain, ditch, or 
gutter. Varro, R. R. iii. 5. 

CANALICULUS. Diminutive of 
Canalis ; a small drain, ditch, or 
gutter. Columell. viii. 15. 6. Vitruv. 
x. 9. 7. 

2. The vertical channel or groove 
carved on the face of a triglyph 



1 




1 


] 


1 1 






■ 


1 


1 

1 
1 

L 













(Vitruv. iv. 3. 5.), marked by shading 
in the example, from an ancient 
Doric temple formerly existing in 
the forum at -Rome, as copied from 
the original by Labacco. 

CANA'LIS {auXrjv). An open 




Io6 CANCELLARIUS. 

channel, artificially made, of wood or 
brickwork, for the purpose of supply- 
ing cattle with water in the meadows, 
and thus serving as a drinking 
trough, as seen in the illustration 
from the Vatican Virgil. Virg. G. 
iii. 330. Varro, R. R. iii. 5. 2. Vitruv. 
viii. 5. 2. and 6. I., where it is distin- 
guished from Tubus and Fistula. 

2. Canalis in Foro. Probably the 
gutter or kennel, as we say, near the 
centre of the Roman forum, from 
which the rain waters were immedi- 
ately discharged through an opening 
into the Cloaca Maxima or main 
sewer (Plaut. Cure. iv. I. 15.) ; 
whence the word canalicola was in- 
vented as a nickname for a lazy, 
idle fellow, because such people used 
to loiter and lounge away their time 
about this spot. Festus. s. v. 

3. A narrow alley or passage in a 
town. Liv. xxiii. 31. 

4. A splint, employed by surgeons, 
in setting broken bones. Celsus. 
viii. 16. 

5. In architecture, the channel in 
an Ionic capital, which is a smooth 
flat surface lying he- 

tween the abacus /j^Z. 

and cymatium or echi- A^ ^^^^ BJj) 

■mis, and terminating jj|f)f|f]f|f|fffi[ 

in the eye of the 

volute. (Vitruv. iii. 5. 7.) It is 

clearly shown in the engraving, which 

represents a capital from the temple 

of Fortuna Virilis at Rome. 

CANCELLARIUS. A word 
introduced at a late period of the 
empire, and applied either to an 
officer who kept guard before the 
emperor's tent, or his sleeping apart- 
ment, the approach to which was 
closed by gratings (cancelli), as we 
learn from Cassiodorus (Var. Ep. ii. 
6. ), whence the appellation ; or to a 
sort of chief clerk presiding over a 
body of juniors who assisted the 
judges in a court of law, the tribunes 
of which, where the judges and their 
officers sat, were in like manner 
separated from the body of the court 
by an iron railing. Hence we derive 



CAN DEL A. 

our term of <£ chancellor." Vopisc. 
Carin. 16. Cassiodor. /. c. 

CANCELLI (K17X1S, dpij(paKTov). 
Iron gratings and trellis work; in- 
tended as an ornamental fence to en- 
close or protect anything (Varro, 
R. R. iii. 5. 4. Columell. viii. I. 6.); 
for instance, before the judges' tribune 
in a court of law ; in front of the. 
rostrum in the forum (Cic. Sext. 
58.), which by some writers is recog- 
nised in the annexed scene, from 




the arch of Constantine ; along the 
top of the podiwn, and each distinct 
tier of seats in an amphitheatre (Ov. 
Am. iii. 2. 64.), as shown in the 
restored section of the amphitheatre 
of Pola (p. 29. a); and in short for 
any situation requiring such an 
object. 

CANDE'LA. A candle made of 
pitch, wax, or tallow, with the pith 
of a bulrush for the wick (Plin. 
II. N. xvi. 70.), which was used in 
early times before the invention of the 
oil lamp. Mart. Ep. xiv. 43. 

2. A sort of torch, made of the 
fibres of the papyrus twisted together 
like a rope, or of a rope itself coated 
with wax (Serv. ad Virg. ALn. xi. 
143. Varro, I. I. v. 1 19.), which 
was anciently carried in funeral pro- 
cessions, and is represented in the 
illustration, from a sepulchral marble 




at Padua, which, according to the 
tradition there preserved, is believed 
to contain the remains of St. Luke. 
3. A mere rope coated with wax 



CANDELABRUM. 



I0 7 



to preserve it from decay. Liv. xl. 
29. 

CANDELA'BRUM. A contri- 
vance devised for the purpose of 
supporting a light in a position suffi- 
ciently elevated above the ground to 
distribute the rays to a convenient 
distance around it. Of these the an- 
cients had in use several kinds, viz. — 
I. (Xvxvovxos). A candlestick for 
holding tapers or candles of wax and 




tallow. These were either made 
like our own, with a socket and 
nozzle into which the end of the 
candle was inserted (Varro, ap. 
Macrob. Sat. iii. 4. Festus, s. v. ) ; 
or with a sharp point at the end, 
like those so commonly seen in the 
churches of Italy, upon which the 
bottom of the candle was stuck. 
(Serv. ad Virg. ALu. i. 727.) An ex- 
ample of the former kind is given in 
the illustration, from an original found 
at Pompeii ; and an engraved gem 
of the Worsley Museum affords a 
specimen of the last sort, in which 
the sharp point is seen projecting 
from the top. 

2. (\vx> ovxos). A portable lamp- 
stand, upon which an oil-lamp was 
placed. These were 
sometimes made ofwood 
(Pet Sat. 95. 6), but 
mostly of metal (Cic. 
Vcrr. ii. 4. 26), and 
were either intended to 
be placed upon some other piece of 
furniture, like the annexed example, 
which represents a bronze lamp and 
stand found at Pompeii, of the kind 
termed humile (Quint. Inst. vi. 3 





99.), which was meant to be placed 
upon a table ; or they were made to 
stand upon the ground ; 
in which case they 
were of considerable 
height, and consisted 
of a tall slender stem 
{scaflus), generally imi- 
tating the stalk of a 
plant, or a tapering 
column, and a round 
flat dish or tray {super- 
ficies) at the top, on 
which the lamp was 
placed, like the an- 
nexed illustration from 
. a Pompeian original. 
It is to candelabra of 
this description that Vitruvius alludes 
(vii. 5. 3:), when he reprehends the 
practice adopted by the artists of his 
own day, and of such frequent occur- 
rence in the arabesque decorations of 
the Pompeian houses, of introducing 
them in the place of columns, as 
architectural supports to architraves 
and other superincumbent weights, 
out of all proportion with such tall 
and slender stems. Compare also 
Lychnuchus. 

3. {\a/xTTrjo). A tall stand, with 
a hollow cup, instead of the flat 
superficies, at the top, 
in which pitch, rosin, 
or other inflammable 
materials were lighted. 
These were not port- 
able, but were perma- 
nently fixed in their 
situations ; and were 
frequently made of 
marble, and fastened 
down to the ground ; 
not only in the interior 
of temples and other 
large buildings, but also 
in the open air (Stat. 
Sylv. i. 2. 231.), where 
they served for illu- 
minations on festivals 
and occasions of rejoicing, precisely 
as they are still used for similar pur- 
3. I poses in front of the cardinals' and 




io8 



CANEPHORA. 



CANO. 



ambassadors' palaces at Rome in the 
present day. The illustration is 
taken from a bas-relief in the Villa 
Borghese, and exemplifies this cus- 
tom ; for it stands as an illumination 
in front of an open colonnade, under 
which a band of maidens are dancing, 
upon the occasion of a marriage 
festival. In the early or Homeric 
times the XapLTrrrip was a sort of grate 
raised upon legs, or on a stand, in 
which dried wood (aKawvov) was 
burnt, for the purpose of giving light 
to a room, instead of torches, candles, 
or lamps. Horn. Odyss. xviii. 306- 
310. 

CANE'PHORA or CANE'PHO- 
ROS (Kavr}(j>npos). The basket- bearer ; 
a young Athenian 
maiden, who walked 
in the procession at 
the festivals of De- 
meter, Bacchus, and 
Athena, carrying a 
flat basket {canum, or 
canistrum, Festus, s.v.) 
on her head, in which 
were deposited the 
sacred cake, chaplet, 
frankincense, and knife 
employed to slay the 
victim. Young women 
are frequently represented 
capacity by the ancient artisiis, 
similarly described by classic authors, 
with their arms raised up, and in the 
exact attitude of the figure here en- 
graved, from a statue at Dresden. 
Cic. Verr. ii. 4. 3. Plin. H. N. 
xxxvi. 4. 11. 7. Compare Ovid. Met. 
ii. 7II-7I3- 

CANIC'ULA. Pers. Sat. iii. 49. 
Same as Canis 2. 

CANIS. A chain ; but whether of 
any particular description is doubtful ; 
though probably not, as the expression 
may have originated in a play upon 
the words catella, catelhis. Plaut. 
Cas. ii. 6. 37. Becker, Gallus, p. 232. 
transl. 

2. The worst throw upon the dice ; 
i.e., when all aces were turned up. 
Suet. Aug. 71. 




CANISTEL'LUM. Diminu- 
tive of Canistrum. 

CANIS'TRUM and CANISTER 
(tcaveov, kclvtjs). A large, flat, open 
basket, whence termed patuhim (Ov. 




Met. viii. 675.), and latum (Id. Fast. 
ii. 650.), made of wicker-work (Bal- 
lad, xii. 17.), and without handles, so 
as to be adapted for carrying on the 
head, as shown by the figure in the 
opposite column ; particularly em- 
ployed as a bread-basket (Virg. sEn. 
viii. 180.), in reference to which use 
the example here introduced, from a 
Pompeian painting, is carried by 
Ceres, and filled with ears of corn. 

CANO. To sing generally ; but 
also to sound, or play upon, any mu- 
sical instrument (Cic. Div. ii. 59.) ; 
as lituo canere (Cic. Div. i. 17.), 
to sound the lituus (see woodcut 
s. Liticen) ; comu canere (Varro, 
L. L. v. 91.), to sound the horn (see 
Cornicen) ; tibiis canere (Quint, 
i. 10. 14.), to play upon the pipes 
(TlBlCEN) ; cithara canere (Tac. 
Ann. xiv. 14. ), to play the guitar 
(Citharista). 

2. Intus et foris canere ; an ex- 
pression descriptive of the peculiar 
mode of playing upon the lyre, 
which is represented 
in the annexed en- 
graving, from the 
Aldobrandini fresco 
in the Vatican. To 
strike the chords 
merely with the 
plectrum held in the 
right hand, was 
foris canere ; to 
thrum the chords 
merely Math the 
fingers of the left 
ha'nd was intus ca- 
nere : but when the two were used to- 




CAXTEKIUS. 



C A PILL-US. 



A gelding. 
Festus, s. v. 
Columell. iv. 



gether, and both sides of the instru- 
ment struck at once, as in the en- 
graving, the musician was said to 
play on the inside and out, intus et 
forts canere. Ascon. ad Cic. Verr. 
ii. I. 20. 

CANTE'RIUS. 
Varro, R. R. ii. 7. 15. 

2. A prop for vines. 
12 1. 

3. A machine used for suspending 
horses with broken legs, to keep 
their feet off the ground while the 
bone is setting. Veget. Vet. iii. 47. 2. 

4. In architecture, Canterii (dfxeL- 
fiovres, avcTTdTai) are the canthers or 
principal raftei'S in the timber work 
of a roof (see Materiatio,//) ; their 
upper ends meet together, and form 
the apex of the pediment ; their 
lower extremities rest upon the tie- 
beams (tigna) ; and in the finished 
building are represented externally 
by mutules (mutuli), which are, there- 
fore, carved to represent the project- 
ing extremities of a series of rafters. 
Vitruv. iv. 2. 1. and 3. 

CANTERI'OLUS (dxpipas). A 
painter's easel ; represented in the 
annexed engraving, 
with the picture on it, 
from a Roman bas-re- 
lief, precisely similar 
to those still in use. 
The Greek term for 
this contrivance is well 
authenticated ; but the 
Latin one here given, 
upon the authority of 
Riddle's English- Latin 
Dictionary, though sufficiently appro- 
priate, wants a positive authority. 

CANTH'ARUS (xavOapos). A gob- 
let, or drinking cup, of Greek inven- 
tion. It was furnished 

with handles (Virg. 
Eel. vi. 17.); and was 
the cup particularly 
sacred to Bacchus (Ma- 
crob. Sat. v. 21.), as 
the scyphus was to Hercules ; conse- 
quently in works of art, both painting 
and sculpture, a vessel of the form 





here engraved, from a fictile original, 
is constantly represented in the hands 
of that divinity. 

2. A vase into which the water of 
an ornamental fountain is discharged, 
formed in the imitation of the drinking 
cup. Paul. Dig. 30. 41. 

3. A sort of boat, the peculiar 
properties of which, however, are 
unknown. Macrob. Sat. I. c. Aristoph. 
Pac. 143. 

CANTHE'RIUS. See Cante 

RIUS. 

CANTHUS (iTriawTpov). The 
tire of a wheel ; a hoop of iron or 
bronze fastened on to the felloe, to 
preserve the wood from abrasion. 
(Quint, i. 5. 8.) The Greek name 
occurs in Homer (//. v. 725.) ; the 
Latin one, though used by Persius 
(Sat. v. 71.), is noted as a barbarism 
by Quintilian (/. c. ), who considers it 
to be a Spanish, or an African, word. 

CANTO. Used in the same 
senses as Cano. 

CANUM (Kavovv). A Greek 
basket, made of reed or osiers, more 
usually termed Canistrum in Latin. 
Festus, s. v. Varro, L. L. v. 120. 

CANUSINA'TUS. Wearing a 
garment wove from the wool of Ca- 
nusium, now Canosa. Suet. Nero, 30. 
Mart. Ep. ix. 23. 9. 

CAPE/DO. An earthenware wine 
jug, with a handle, such as was used 
in early times at the sacrifice. (Cic. 
Parad. i. 2.) Same as Capis. 

CAPEDUN'CULA. Diminutive 
of the preceding. Cic. lV. D. iii. 17. 

CAPILL AMENTUM. A wig 
of false hair, but particularly one in 
which the hair is very long and 
abundant, like a woman's head of 
hair. Suet. Cal. n. Pet. Sat. no. 
5. Tertull. Cult. Fcem. 7. and Gale- 
rus 3. 

CAPIL'LUS. The hair of the 
head in general, and without refer- 
ence to its quality or character ; i. e. 
equally apphtd to any description of 
hair, whether long or short, straight 
or curly, dressed or undressed. Cic. 
Ov. Hor. Ca?s. Nep., &c. 



I IO 



CAPIS. 



CAPITAL. 



2. Also applied to the hair of the 
beard (Cic. Off. ii. 7. Suet. Nero, 
I.); and to the fur of animals. Ca- 
tull. 25. 1. Aul. Gell. xii. 1. 4. 

CAPIS. A wine jug (Varro, ap. 
Non. s. Armillmn, p. 547.) of early- 
form and usage, made of earthenware, 
and having a single handle, from which 
circumstances the Roman gramma- 
rians derive its name. (Varro, L. L. 
v. 121. Festus, s. v.) In the early 
and simple ages of Roman r 
history, earthenware vessels (T\» 
of this description were of \\, jY 
common use, both for re- y m 
ligious and other purposes IJB 
(Liv. x. 7. Vet. Sat. 52" 2.); ^Ip 
but with the increase of lux- 
ury, they were relinquished for the 
more elegant Greek forms, or were 
made of more costly materials (Plin. 
H. N. xxxvii. 7.), though still retained 
for purposes of religion, which acquires 
additional veneration and respect by 
the preservation of ancient forms and 
usages ; consequently, they are fre- 
quently represented on coins and 
medals struck in honour of persons 
belonging to the priesthood, similar to 
the figure here introduced, which is 
copied from a bronze medal - of the 
Emperor Marcus Aurelius Antoninus, 
011 which he is represented in the 
character of an augur. 

CAPISTE'RIUM. A vessel em- 
ployed for cleansing the ears of corn 
after they had been threshed out and 
winnowed. It appears to have been 
something in the nature of an alveus, 
or wooden trough, into which the 
corn was put and shaken up, so that 
the heavy grains subsided to the 
bottom, while the light ones and any 
refuse admixture which might have 
been left amongst them after the 
winnowing, rose to the top, and 
could be easily separated from the 
rest. Possibly also water was em- 
ployed in the operation. Columell. 
ii. 9. II. Compare Apul. Met. ix. p. 
193- 

CAPIS'TRUM (4>op{3eid). A 
halter or head-stall for horsesj asses, 



or oxen. (Varro, R. R. ii. 6. 4. 




Ov. Met. x. 125.) The example is 
from the Column of Trajan. 

2. A nose piece, with spikes stick- 
ing out from it, to prevent the young 
of animals from sucking after they 
had been weaned, such as is com- 
monly used with calves at the present 
day. Virg. Georg. iii. 399. 

3. A ligature employed in training 
vines, for fastening them to the up- 
rights or cross-bars of a trellis. 
Columell. iv. 20. 3. 

4. A rope employed for suspending 
the end of the press beam {prelum) in 
a wine or oil press. Cato, R. R. xii. 

5. A broad leather band or cheek- 
piece, with an opening for the mouth, 
worn by pipers, like a halter, round 
the head and face, in order to com- 
press the lips and cheeks when blow- 
ing their instruments, which enabled 
them to produce a fuller, firmer, and 
more even tone, as shown by the 
annexed illustration, from a bas-relief 




at Rome. It does not appear to have 
been always used, for pipers are as 
often represented in works of art 
without such an appendage as with 
it ; nor does the Latin name occur in 
any of their classical writers, though 
the Greek one is well authenticated. 
Aristoph. Vesp. 582. Soph. Tr. 753. 
CAPITAL. A small kerchief of 



CAPITELLUM. 



CAPITOLIUM. 



I 1 I 



woollen cloth (Varro, L. L. v. 130.), 
worn in early times by the Roman 
women round the head, to keep the 
hair from flowing loose ; and subse- 
quently retained as a peculiarity in 
costume by young females attached 
to the services of religion, such as 
the Flaminica, or attendant upon the 
wife of the Flamen Dialis. Varro, 
/. c. Eestus, s. v. 

CAPITEL'LUM. Same as Capi- 

TULUM. 

CAPIT'IUM. An article of 
female attire, worn upon the upper 
part of the person, and over the 
bosom (Varro, L. L. v. 131. Id. de 
Vit. Pop. Rom. ap. Non. p. 542.), 
but whether in the nature of a spencer 
or of a corset, it is difficult to deter- 
mine. Aulus Gellius notes the word 
as obsolete and peculiar to the com- 
mon people ; but in a passage from 
Laberius quoted by him (xvi. 7. 3.), 
it is described as of gaudy colours, 
and worn outside the tunic ; a de- 
scription which agrees precisely with 
the style, appearance, and manner in 
which the peasant women of Italy 
wear their corsets at the present day, 
and with the figure here introduced, 




from a sepulchral marble published 
bv Gori (Inscript. Antiq. Flor. p. 
344.), evidently intended to represent 
a female of the lower class, from the 
rough stone seat on which she sits, 
whilst another figure, in the original, 
assists at her toilet. 

CAPITO'LIUM. The Capitol; 
one of the seven hills of Rome, origi- 



nally called Mojis Satumius, a name 
which was subsequently changed into 
Mons Tarpeius, in allusion to the 
virgin Tarpeia, who was said to have 
been killed and buried there by the 
Sabines ; and finally, during the 
legendary period referred to as the 
reign of Tarquinius Superbus, into 
Mons Cafiitolinus or Capitolhun, be- 
cause a human head {caput) was 
believed to have been found there 
in digging the foundations for the 
temple of Jupiter. (Varro, L. L. v. 41. 
42. Li v. i. 55.) The hill was divided 
into two summits, with a level space 
between them : the northern and 
more elevated one of the two, on 
which the church of Ara Celi now 
stands, being made into a fortress, 
was termed the Arx, or citadel ; the 
lower one on the south, now Monte 
Caprino, being occupied by the fa- 
mous Capitoline temple. Niebuhr, 
Hist. Rom. vol. i. p. 502. transl. 

2. The Capitoline temple ; con- 
structed by the last Tarquin upon the 
southern summit of the Mons Capi- 
tolinus, in honour of the three prin- 
cipal Roman deities, Jupiter, Juno, 
and Minerva. It comprised three 
distinct cells (cello) parallel to each 




£>•» - » o a e 

• 9 O 9 *»30 

• s * 9 a * -9 m 

other, but enclosed by one roof, ter- 
minating in a single pediment ; the 
centre one was dedicated to Jupiter, 
that on the right hand of his statue, 



I I 2 



CAPITOLIUM. 



i.e., on the left of the spectator when 
fronting the edifice, to Minerva, and 
the other to Juno. The ground-plan 
was a parallelogram, possessing only 
a slight difference between its width 
and length. A triple row of columns 
supported the pediment in front, and 
a double one formed a colonnade on 
each of the flanks ; but the rear, 
which was turned from the city, had 
no colonnade. (Dionys. iv. 61.) The 
plan here given is designed in ac- 
cordance with the above description 
from Dionysius, in order to convey a 
clear notion of the internal arrange- 
ment of this remarkable edifice, which 
was constructed upon a plan so dif- 
ferent from that usually adopted in 
their religious buildings by the 
Greeks and Romans. It is true that 
the temple described by Dionysius 
was the one existing in his own day, 
which was built by Sylla, and dedi- 
cated by Catulus; but we have it upon 
record, that, from a feeling of religious 
veneration, the original ground-plan 
was never altered. Tac. Hist. iv. 53. 

As regards the exterior elevation 
of this famous temple, nothing but a 
few blocks of large stones, which 
formed the substruction, now remain 
to give a faint idea of all its former 
splendour ; and the representations of 
it, which appear upon coins, medals, 
and bas-reliefs, are too minute and 
imperfect in respect of details to 
afford a fair conception of its real 
character and appearance. It was 
thrice destroyed by fire, and three 
times rebuilt, but always upon the 
former site, and with the same 
ground-plan. The first structure was 
certainly of the Etruscan order de- 
scribed by Vitruvius, for the archi- 
tects who built it were sent for from 
Etruria for the purpose. (^Liv. i. 56.) 
When rebuilt for the first time by 
Sylla, the only difference made con- 
sisted in changing the order into the 
Corinthian, for the columns were 
brought from the temple of Jupiter 
Olympius at Athens (Plin. H.N. xxxvi. 
5.) ; which Vitruvius expressly says 



{Proem, vii. 1 7.) were Corinthian, 
and some of them are still remaining 
there to prove the fact ; and the same 
plan and architectural order were 
still preserved under Vespasian (Tac. 
Hist. iv. 53.): as also in the fourth 
structure raised by Domitian, as tes- 
tified by the illustration here annexed, 




which is taken from a bas-relief be- 
longing to the triumphal arch of 
Marcus Aurelius, which represents 
that emperor performing sacrifice in 
front of the Capitoline temple ; and 
although the sculpture does not pre- 
sent a faithful representation of the 
real elevation, it will be observed 
that the principal characteristics are 
sufficiently indicated — the Corinthian 
order of the columns, and the three 
separate cells, which are expressed 
by the unusual appearance of three 
entrance doors. It is also well 
known to those who are conversant 
with the works of antiquity, that the 
ancient artists, both Greek and Ro- 
man, adopted as a constant practice 
of their school, a certain conventional 
manner of indicating, rather than 
representing, the accessories and 
localities amongst which the action 
expressed took place ; instead of the 
matter-of-fact custom now prevailing 
of giving a perfect delineation, or, as 
it were, portraiture, of the identical 
spot and scene, 

3. Capitolium vetus. The old Ca- 
pitol ; a small temple on the Quirinal 
hill, dedicated to Jupiter, Juno, and 



CAPITULUM. 



Minerva, and supposed to have been 
built by Numa. This name, how- 
ever, was not given to it until after 
the erection of the more famous edi- 
fice on the Capitoline hill, when it 
was adopted, in order to distinguish 
the two ; which Martial distinctly 
does in the following verse — inde 
novum, veterem prospicis vide Jovem. 
Mart. Ep. vii. 73. Id. v. 22. Varro, 
L. L. v. 158. Val. Max. iv. 4. II. 

CAPITULUM {tTTlKpaitOV, KLOVO- 

Kpavov). The capital of a column; 
which, in the infancy of building as 
an art, was nothing more than a 
simple abacus, or square tablet of 
wood, placed on the top of a wooden 
trunk, the original column, to form 
a broad bed for the architrave to 
rest upon. (See the illustration and 
article Abacus 6.) From this simple 
beginning, it became eventually the 
principal ornament of a column, 
and a prominent feature by which 
the different architectural orders are 
distinguished ; being, like them, and 
strictly speaking, divided into three 
kinds, the Doric, Ionic, and Corin- 
thian capitals, which, with the Roman 
alterations, make five varieties in use 
amongst the ancients; for the Tuscan, 
of which no example remains, is only 
a species of Doric ; and the Compo- 
site is formed by a union of the Ionic 
and Corinthian, having the foliage of 
the latter surmounted by the volutes 
of the former — a bastard capital in- 
troduced in the Imperial age, when 
the genius for invention was suc- 
ceeded by a love for novelty and 
splendour, and first employed in the 
triumphal arches at Rome, where a 
specimen is still to be seen on the 
arch of Titus. 

I. Capitulum Doricum. Greek-. 
The Greek Doric capital, which is 
the simplest of all 
being divided 
no more than 
principal parts 
large square abacus at the top, re- 
taining in this order its primitive 
character to the last ; the echinus or 



)i an, I 1 

into 'r~ J 

* h [ll WU 1 1111 



quarter round, immediately below it ; 
and the anuli, or anulets, just above 
the neck of the shaft. The example 
represents a Doric capital from the 
Parthenon. 

2. Roman. The Doric of the 
Romans is more complicated and 
varied in its parts. 

Instead of the simple 
abacus, they substi- 
tuted a moulded cy- 
matium and fillet ; in 
place of the echinus, an ovolo, often 
broken by carving, as in the exam- 
ple ; instead of the anulets, either an 
astragal (astragalus), or a bead and 
fillet. The example is from a Roman 
Temple near Albano. 

3. Capitulum louicum. Greek. 
The Greek Ionic capital consists of 
two leading features : 
the abacus, which is 
smaller and lower 
than in the Doric, but 
still square in its plan, 
though moulded on the exterior 
faces ; and the volutes (voluta), or 
spiral mouldings on each side of the 
front, which are frequently connected 
by a pendent hem or fold, as in the 
example, and hang down much lower 
than the sculptural echinus between 
them. The example is from a Greek 
temple near the Ilyssus. 

4. Roman. The Roman Ionic 
does not differ very materially, nor 
in its essential parts, 
from the Greek spe- 
cimens, excepting that 
it is often elaborately 
covered with carv- 
ing ; the volutes are 
smaller, and the tasteful hem which 
hangs down between" them in the 
preceding engraving is never intro- 
duced ; but that is not to be con- 
sidered as a uniform characteristic 
of the Greek order ; it does not occur 
in the temple of Bacchus at Teos 
(introduced s. Denticulus), nor in 
other existing edifices. The example 
is from the temple of Fortuna Virilis 
at Rome. 




ifinnnnf 

general 



H4 



CAP1TULUM. 



CAPREOL US. 




5. Capitulum Corinthium. The 
Corinthian capital is the richest of 
all the pure orders, 
and the specimens 
now remaining of it 
in Greece and Italy 
do not materially 
differ in any charac- 
teristic point. It 
consists of an aba- 1 ' 
cus, not square, like that of the Doric 
and Ionic capitals, but hollowed on 
the sides, and having the angles cut 
off, and a rosette {flos) or other 
similar ornament in the middle. 
Under the abacus are small volutes 
{helices, Vitr. iv. t. 12.), bending 
downwards like stalks, two of which 
meet under each angle of the abacus, 
and two in the centre -of each face of 
the capital, where they sometimes 
touch, and sometimes are interwoven 
with each other. The whole is sur- 
rounded by two circular rows of 
leaves (folia), each leaf of the upper 
row growing between and behind 
those of the lower one, in such a 
manner that a leaf of the upper row 
falls in the centre of each of the four 
faces of the capital. In the best 
examples, these leaves are carved to 
imitate the acanthus, or the olive 
tree, which last is represented in the 
engraving, from the portico of the 
Pantheon at Rome. 

6. A small circular head-piece, af- 
fixed to the top of the tablets used by 
the Roman children 

at their schools. 
(Varro, R. R. iii. 5, ~ - 
10. ) It had an eye 
in its centre, through 
which a thong or 
cord was passed, and 
by which it was 
slung upon the arm when carried 
(Hor. Sat. i. 6. 74.), or hung up upon 
a peg, when put by, as in the exam- 
ple, from a Pompeian painting. 

7. In military engines, such as the 
ballista and catapulta, the capitulum 
appears to have been a cross-bar with 
holes in it. through which the cords 



passed, by the tension of which the 
missile was discharged (Vitruv. i. I. 
18. Id. x. 10. 2. Id. x. 12. 2.); but 
as the mechanical construction of 
these machines has not been ascer- 
tained, any attempt to determine 
their component parts would only be 
conjectural, and unsatisfactory. 

CAPRA'RIUS (aiwoXos, aiye- 
\a.T7]s). A goat-herd, who drove out 
a flock of goats to pasture ; of which 




animals the ancients kept large flocks 
upon their farms. (Varro, R. R. ii. 
3. 10.) The qualities required in 
him were strength, activity, boldness, 
and great powers of enduring fatigue, 
as goats always scatter themselves to 
browze, and the places which afford 
their best pasturage are abrupt and 
precipitous steeps in mountain dis- 
tricts, which abound with brushwood, 
wild herbs, and flowers. (Columell. 
vii. 6. 9. Varro, R. R. ii. 3. 7.) The 
illustration represents one of the 
goat-herds of Virgil's Eclogues, from 
a MS. in the Vatican. 

CAPRE'OLUS. Literally a roe- 
buck or chamois ; and thence an 
instrument used in husbandry, for 
raking up and loosening the 
soil, formed with two iron 
prongs (Columell. xi. 3. 46.), 
converging together like the 
horns of the chamois, as 
shown by the annexed figure, 
which is copied from an 
ancient ivory carving in the 
Florentine Gallery, where it 
appears in the hands of a figure 
standing, with a goat by its side, in 



CAP RILE. CAPRONM. 



the midst of a vineyard, thus identify- 
ing its object and name. 

2. (crvyKVTTTTjs.) A brace or strut 
in carpentry ; i.e., a piece of timber 
placed in a slanting position in a 
trussed partition, or in the frame of 
a roof (e E in the illustration), in 




order to form a triangle by which 
the whole construction is made 
stronger and firmer. In this sense, 
the word is mostly used in the plural, 
because they are generally inserted 
in pairs, meeting together at bottom, 
and diverging upward, like the horns 
of the chamois. CcES. B. C. ii. io. 
Vitruv. iv. 2. I. 

CAPRI'LE. A goat-house. Co- 
lumell. vii. 6, 6. V arro, R. R. ii. 
3- 8. 

CAPRIMUL'GUS. A milker of 
goats ; the milk of which animals was 




extensively used by the ancients. 
(Catull. xxii. io.) Properly speak- 
ing, the caprimulgus was a slave be- 
longing to the familia rusttca, but in 
the illustration, from a painting at 
Pompeii, he is represented as a genius, 
pursuant to the common practice of 
the ancient schools in similar cases. 

CAP'RtPES. Goat-footed; a 
form commonly attributed by poets 
and painters to Pan and the Satyrs, 



in order to indicate their libidinous 
and dissolute propensities. (Lucret. 
iv. 583. Hor. Od. ii. 19. 4.) The 




illustration is taken from a Pompeian 
painting. 

CAPRO'N^E {wpoKbfiLov). The 
locks of hair which fall down over 
the centre of the forehead from the 




top of the head, distinctly marked in 
the illustration annexed, from a sup- 
posed statue of Adonis found in the 
amphitheatre of Capua. Non. Marc. 
s. v. p. 22. Appul. Flor. i. 3. 3. 

2. The forelock of a horse ; when 
it falls over the forehead, as in the 
example, from an engraved genu 




instead of being tied up into a tuft 



CAPS A, 



CAP [7 L US. 



(cirrus), a very common practice. 
Festus, s. v. Xen. Equest. v, 6. 

C A P S A. A deep, circular, 
wooden box or case (Plin. H. N. 
xvi. 84.), in which things are depo- 
sited to be removed from place to 




place, but more especially employed 
for the transport of books. (Cic. in 
Ccecil. Div. 16. Hor. Sat. i. 4. 22. //;. 
10. 63.) The illustration represents 
two of these boxes, one open with 
the rolls or volumes inside it, from a 
Pompeian painting ; the other, with 
the lid shut down and locked, from a 
MS. of Virgil in the Vatican. Both 
have straps attached, for the conve- 
nience of carrying them about. 

CAPSA'RIUS. A slave who 
carried his young master's capsa, or 
box of books to and from school. 
Suet. Nero, 36. Juv. Sat. x. 117. 

2. (i/maTio(pv\a^.) A slave attached 
to the service of the public baths, 
whose duty it was to take charge of 
the wearing apparel left by the bathers 
in the undressing room, to prevent 
their being stolen ; a species of theft 
frequently occurring at Rome. Paul. 
Dig. i. 15. 3. Compare Ov. Art. 
Amat. iii. 639. Plaut. Rud. ii. 
3- 5i- 

CAPSEL'LA. A double diminu- 
tive of Capsa ; a very small box, in 
which dried fruits were kept (Ulp. 
Dig. 33. 7. 12.), or women's trinkets ; 
sometimes suspended from a chain 
round their necks. Pet.' Sat. 67. 9. 

CAP'SULA. Diminutive of 
Capsa ; a small box for books or 
other things (Catull. lxviii. 36.) ; 
hence the expression homo totus de 
capsula (Seneca, Ep. 115.), a fop, or, 
as we also say, who looks as if he had 
just come out of a band-box. 

CAPS US. The body or interior 
of a carriage ; like our expression, 




the inside of a coach. (Vitruv. x. 9. 
2.) See the illustrations to Car- 

PENTUM. 

2. A cage or enclosure for con- 
fining animals. Veil. i. 16. 

CAP'ULA. Diminutive of Ca- 
pis ; a small wine jug or drinking- 
cup, with a handle to 
it, which was used with 
the circular drinking 
table termed cilibantwn. 
(Varro, L. L. v. 121. 
Id. de lit. Pop. Rom. 
ap. Non. s. Armillum, 
p. 547.) Vessels of 
this form and character are frequently 
represented upon round tables at 
which parties are drinking, in the 
paintings of Pompeii, from one of 
which the annexed illustration is taken. 

CAPULA'RIS. See Capulus 3. 

CAPULATOR. A person em- 
ployed in the process of oil making, 
whose business it was to pass and 
repass the oil from one vat to another, 
or from the vat into jars for the pur- 
pose of refining it, which he did with 
a sort of ladle or vessel with a handle, 
similar in form and character to the 
capis or capula, from which the name 
originates. Cato, R. R. Ixvi. 1. Co- 
lumell. xii. 52. 10. 

CAP'ULUS {kwttt}). The handle 
or haft of any implement which has 
a straight handle, such as a sickle 
(Columell. iv. 25. 1. see Falx); of 
a sceptre (Ovid. Met. vii. 506. see 
Sceptrum), as contradistinguished 
from ansa, which represents a curved 
or bent one. More especially, the 
hilt of a sivord, which was made of 



I 



wood, bone, ivory, silver, or gold, 
and sometimes inlaid with pi'ecious 
stones, and mostly without ai. guard. 
(Virg. ALn. x. 506. Tac. Ann. ii. 21. 
Spart. Hadr. 12. Claud, de Laud. Stil. 
ii. 91.) The illustration is copied 
from an original found at Pompeii. 
2. Poetical for stiva ; the handle 



CARABUS. 



CARACALLA. 



1 I 



of a plough, which the ploughman 
held in his hand to direct its course. 
(Ov. Pont. i. 8. 57.) See Stiva, 
and the illustration s. Arator. 

3. The bier on which a dead body 
was carried out. (Festus, s. v. Serv. 




ad Virg. Ain. vi. 222. Lucilius and 
Novius, ap. Non. s. v. p. 4.) ; whence 
the epithet capularis is applied to de- 
signate one who is near his death, or 
ready for his bier. (Plaut. Mil. iii. 
I. 33.) The illustration is from a 
bas-relief on a marble sepulchre near 
Rome. 

CA'RABUS. A small boat made 
of wicker - work, like the Welsh 




"coracle," and covered with raw 
hides. (Isidor. Orig. xix. 1. 26.) 
The illustration is given by Scheffer 
{Mil. Nav. p. 810. ), from an old MS. 
of Vegetius. The lines down the 
sides, which are more distinct in the 
original, show the seams where the 
hides are sewn together. The form 
of the tiller and rudder, as well as its 
position at the stern of the boat, 
which is a very unusual one, but is 
also seen on a sepulchral marble in 
Boldetti {Cimiterj, p. 366.), indicates 
a late period. 

C ARAC AULA. An article of 
dress worn by the Gauls, which 
occupied the same relative position 
in their attire as the xitmv of the 
Greeks and tunica of the Romans. 
It differed, however, from them in 
form and size ; for it was a tight 
vest, with long sleeves, the skirts of 
which reached about half-way down 
the thighs, and were slit up before 
and behind as far as the fork, like a 



modern frock-coat. (Strabo, iv. 4. 
3. Edict. Dioclet. 21. Compare Mart. 
Ep. i. 93. 8., where it is termed pal/a 




Gallica.) This explanation depends 
mainly upon the passage of Strabo 
cited above, who says, in describing 
the costume of the Gauls, that they 
left the hair to flow in its natural 
profusion, and wore a sagtim and long 
trovvsers ; but that, instead of tunics, 
they wore a vest with long sleeves, 
which was slit up before and behind 
as far as the fork- — avr\ ce x ir( ^ vwv 
ox iaT °v$ x tl P l $<*>toVG (pkpovoi n'tXP' 
alSoiujv Ka\ y\ovTutv — a description 
agreeing exactly with the costume 
of the figures introduced above, 
which are taken from two small 
bronzes found at Lyons, and exhibit 
nil the characteristics here mentioned, 
as well as some others peculiar 
to the ancient inhabitants of Gaul ; 
viz., the profusion of hair arranged 
in the Gallic fashion (see the illus- 
tration s. Cirrus I., where an ex- 
ample is introduced upon a larger 
scale), and not unlike the style 
usually represented on the heads of 
Jupiter and ^Esciilapiiis, a circum- 
stance which led the Count Caylus 
and Montfaucon into the error of mis- 
taking these figures for personations 
of those deities,— the shoes of the 
particular character worn by the 
Gauls (see Gallics, where there is 
another example upon a larger 
scale), — the sagum on the shoulders 
of the right-hand figure, — the torquis 
round the neck of the other, — and 
the slit in front of the dress, which is 



'( 



I 1 6 CA R BA S US. CA K CER. 



very plainly indicated in both. In a 
Pompeian caricature (inserted .r. 
Pictqr) a corresponding slit is shown 
at the back of a similar vest. The 
trowsers alone are wanting to both 
figures ; which may arise from the 
caprice of the aitist, or from the 
markings by which they were indi- 
cated in the originals having been lost 
or overlooked from the effects of age. 
The passage of Strabo has always 
been interpreted as if it meant a 
Xirtov of the kind called o-^taroc ; but 
that opened at the side (see the illus- 
tration s. Tunica, 5.), whereas the 
words above quoted distinctly imply 
that the garment they describe was 
slit up before and behind. 

2. A dress of similar description, 
introduced at Rome by the emperor 
Aurelius Antoninus Bassianus, whence 
he received the nickname of Cara- 
calla (Anton. Caracall. 9. Aurel. 
Vict. Vit. Ccvs. 21. Id. Epit. 21.), 
which only differed from its Gallic 
original in being much longer, reach- 
ing down to the ankles, and some- 
times also furnished with a hood. 
From this time it came into general 
use amongst the common people, and 
was subsequently adopted by the Ro- 
man priesthood, amongst whom it is 
still retained under the name otsotlana, 
a vest which precisely resembles the 
Gaulish jerkin of the preceding cuts, 
with the skirts lengthened to the 
feet. 

3. Caracalla Major. The long 
caracalla of the Romans, last de- 
scribed. Edict. Dioclet. 21. 

4. Caracalla Minor. The short 
caracalla of the Gauls, first described. 
Edict. Dioclet. /. c. 

CAR'BASUS {Kaoiranoc). A fine 
sort of flax produced in Spain , whence 
the name is given to anything made 
from it ; as a linen garment (Virg. 
sEn. viii. 34.) ; the awning stretched 
over the uncovered part of a theatre 
or amphitheatre, as a shield against 
the sun and rain (Lucret. vi. 109. 
see Velum) ; the sail of a ship (Virg. 
sEn. iii. 357. Velum); the Sibylline 



books, which were made of linen. 
Claud. B. Gil. 232., &c. 

C AR B AT' I NtE {ko p(3dnva 1 or 
KctpTrciTivai). The commonest of all 
the kinds of coverings for the feet in 
use amongst the ancients, and peculiar 
to the peasantry of southern countries. 
Asiatics, Greeks, and Italians. (Xen. 
Anab. iv. 5. 14. Pollux, vii. 22. 
Hesych. s. v.) They consisted of a 




square piece of undressed oxhide, 
placed under the foot, as a sole ; then 
tm-ned up at the sides and over the 
toes, and fastened across the instep 
and round the lower part of the leg 
by thongs passing through holes on 
the edges, in the same way as with 
the crepida, on which account they 
are also called by that name in Ca- 
tullus (98. 4.). The single piece of 
hide, which in fact constitutes the 
whole shoe, serving both for sole and 
upper leather, also explains the mean- 
ing of the epithets by which they 
are described in Hesychius- — novo- 
TrsXfioi' and n-ovodtpjiov, i.e., having 
the sole and upper leather all in one. 
Foot coverings of this sort are almost 
universally worn by the Italian pea- 
santry at this day, as represented in 
the illustration, from a sketch made 
by the writer, which is introduced 
here in preference to an ancient 
example, on account of the clear idea 
it gives of the material and manner 
in which they were made ; but the 
Greek vases and Pompeian paintings 
afford many specimens of the same ; 
as in Tischbein, I. 14. Museo Bor- 
bon. xi. 25. and the right-hand figure 
at p. 31. of this w T ork s. Anabo- 

LIUM. 

CARCER (tcapKapov). A prison 
or gaol. The Roman prisons were 
divided into three stories, one above 
the other, each of which was appro- 
priated to distinct purposes. The 
lowermost {career inferior, yopyvpn) 



CARCER. 



CARCUESIUM. 



119 



was a dark underground dungeon, 
having no other access but a small 




aperture through the floor of the cell 
above, and was used not for deten- 
tion, but as the place of execution, 
into which the criminal was cast in 
order to undergo his sentence, if con- j 
demned to death. The middle one j 
{career interior), constructed imme- I 
diately over the condemned cell, and ; 
on a level with the ground, but j 
having, like the preceding, its only 
access through an aperture in the 
roof, served as a place of confinement , 
where the punishment of imprison- 
ment in chains {custodia arc to) was 
expiated, or until the sentence, if a 
capital one, was about to be carried 
into effect. The upper one, forming 
a story above the ground, was pro- 
vided as a place of detention for those 
convicted of minor offences, or who 
were only condemned to an ordinary 
term of imprisonment {custodia com- 
munis), in which the confinement was 
much less severe, the prisoners not 
being chained, nor excluded from the 
enjoyment of air and exercise. Thus 
we may understand with precision 
the sort of confinement to which 
Dolabella was subjected by Otho — 
neqne arcta custodia, neque obscura 
(Tac. Hist. i. 88.) ; i. e., in the upper 
chamber of all, not in the close con- 
finement of the career interior (the 
upper one in engraving), nor in the 
dark underground dungeon below. 



All these three divisions were appa- 
rent in the gaol of Herculaneum, 
when it was excavated ; and the 
two lower ones still remain entire in 
the prisons constructed by Ancus and 
Servius, near the Roman Forum, a 
section of which is introduced above, 
showing their relative positions and 
plan of construction. The wall at 
the top, with the inscription, com- 
memorating the person by whom it 
was repaired, faced the forum, and 
enclosed the tipper story, now de- 
cayed. 

2. The stalls in the circus where 
the chariots were stationed before the 
commencement of a race, and to 
which they returned after its conclu- 
sion. (Ovid. Her. xviii. 166. Auct. 
ad Herenn. iv. 3. ) These were 
A r aults closed in front by large wooden 




gates, and usually twelve in number 
(Cassiodor. Var. Ep. iii. 51.), whence 
the word is mostly used in the plural 
(Cic. Brut. 47. Virg. G. i. 512.). 
One was appropriated to each cha- 
riot, and the whole were situated at 
the flat end of the race-course under 
the ofipidnm, six on each side of the 
porta pompce, through which the pro- 
cession entered. Their relative 
position as regards the course is 
shown on the ground-plan of the 
Circus (s. ?:), on which they are 
marked A A, and an elevation of four 
carceres, with their doors open {can- 
celli), is here given, from a bas-relief 
in the British Museum. 

CARCHE'SIUM (Kapxymov). A 
drinking-cup of Greek invention, hav- 
ing a tall figure, slightly contracted at 
its sides, with slender handles which 
reached from the rim to the bottom 
(Macrob. Sat. v. 21.). It was used as 



1 20 



C ARCHES I UM. 



CARDO. 



a goblet for wine (Virg. Georg. iv. 
380.), or milk. (Ovid. Met. vii. 
247.) The figure in 
the engraving is from %$sgp*tspsi^ j 
a painting in the tomb \\V lP*/ 
of Caius Cestius, one of Wl mji 
the Epulonesox citizens s||a"j P 
who had the duty of %ir^ 
providing a sumptuous /j| 
banquet in honour of 
Jupiter. The locality where it is re- 
presented, and its perfect correspond- 
ence with the description of Macro- 
bius, seem quite sufficient to identify 
the name and form. 

2. An apparatus attached to the 
mast of a ship, just above the yard 
(Lucil. Sat. iii. 14. ed. Gerlach. 
Lucan. v. 418.), in which part of the 
tackle worked (Serv. ad Virg. AZn. 
v. 77. Non. s. v. p. 546.), and into 
which the seamen ascended to keep a 
look-out, manage the sails, and dis- 
charge missiles, as seen in the illus- 
tration, from a painting in the 
Egyptian tombs. It thus answers in 




some respects to what cur seamen 
call the " tops," but received its name 
from a real or fancied resemblance to 
the drinking-cup figured in the last 
woodcut. 

3. Carchesium versatile. The same 
apparatus, when made to revolve 
round the mast, and act as a crane 
for the loading and unloading of 
merchant vessels, by means of a cross- 
bar or crane-neck inserted horizon- 
tally into it. (Vitruv. x. 2. 10. 
Schneider, ad I.) Our seamen make 
use of the yard-arm in a manner not 
dissimilar. 

CARDINA'LIS. See Scapus. 



CARDIN A'T LIS. See Cardo 4. 

CARDO. A pivot and socket, 
forming an apparatus by means of 
which the doors of the ancients were 
fixed in their places, and made to 
revolve in opening and shutting ; 
thus answering the same purpose as 
the hinges more commonly in use 
amongst us, though the contrivance 
was entirely different in its character. 
(See Ginglymus.) The Greeks dis- 
tinguished each of these parts by 
distinct names, using arpo<piyX for the 
pivot, and <rrpo<pfvc; for the socket in 
which the pivot worked ; but the 
Latin writers commonly include the 
whole apparatus under the term 
cardo, though they sometimes apply 
it to each of the parts separately, and 
sometimes to the whole style of the 
door-leaf (scapus cardinalis), that 
formed the axle by which the con- 
trivance acted. (Plin. H. N. xvi. 77. 
id. 84. Id. xxxvi. 24. §. 8. PJaut. 
Asin. ii. 3. 8. Virg. ALn. ii. 480. 
Apul Met. i. p. 9.) The figures in 




the annexed engraving will explain 
the nature of these objects, and 
the manner in which they were ap- 
plied. The two top ones on the 
right hand exhibit a pair of bronze 
shoes from Egyptian originals in the 
British Museum, which were fast- 
ened on to the top and bottom of a 
door leaf, to act as pivots ((Trpo- 
<j>iyytc), for the wooden axles were 
cased with bronze to bear the wear 
and tear (Virg. Cir. 222. aratus 
cardo) ; the two lower ones on the 
same side are two boxes which were 



CARENUM. 



CARXIF1CINA. 



let into the sill and lintel of the door- 
case to act as sockets ((ttoo^hc), in 
which the pivots turned ; the left-hand 
one, which is Egyptian, and of very 
hard stone, is now in the British Mu- 
seum, and was actually used with the 
pivot shoe drawn immediately above 
it : the right-hand one is of bronze, and 
was found in the sill of a door at 
Pompeii ; the teeth or flutings round 
the sides are to keep it firm in its 
place, and prevent it from turning in 
its setting with the working of the 
door ; the left-hand figure is an Egyp- 
tian door from Wilkinson, and shows 
the manner in which the apparatus 
was attached and worked. Compare 
the illustration s. Axtepagmentum. 

2. The pin or pivot at each extre- 
mity of an axle in machinery, by 
means of which the axle revolves in 
the sockets which receive them, as in 
a wheel-barrow, roller, and similar 
contrivances. Vitruv. x. 14. I. 

3. A tenon in carpentry; i. e., the 
head of a timber cut into a particular 
form for the purpose of fitting into a 
cavity of the same size and shape in 
another piece, and so forming a joint 
(Vitruv. x. 14. 2.) ; hence cardo se- 
ctiriculdtus, a tenon in the form of an 
axe, or as we call it. "dove-tailed." 
Vitruv. x. 10. 3. 

CARE'NUM. The must of new 
wine inspissated by boiling down to 
two-thirds of its original quantity* 
Pallad. Oct. 18. 

CARI'NA {tpoTTiq). The keel, or 
lowest piece of timber in the frame- 
work of a ship, running the whole 
length from stem to stern, and serv- 
ing as a foundation for the entire 
fabric (Cic. de Orat. hi. 46.) ; includ- 
ing also the false keel or "keelson." 
Li v. xxii. 20. Coes. B. G. iii. 13. 

CARNA'RIUM. A frame sus- 
pended from the ceiling, and fur- 
nished with hooks and nails, for the 
purpose of hanging up cured pro- 
visions, dried fruits, herbs, &c, 
similar to those still used in our 
kitchens. (Plant. Capt. iv, 4. 6. Pet. 
Sat. 135. 4. Id. 136. 1. Plin. H. AT. 



xviii. 60.) The illustration is from 
a painting at Pompeii, in which it is 




suspended from the ceiling of a 
tavern, and shows sausages, vege- 
tables, and such things hanging by 
strings or in nets. 

2. In a more general sense, a safe 
or larder for the preservation of fresh 
viands. Plaut. Cure, ii. 3. 45. Plin. 
H. N. xix. 19. n. 3. 

CAR'NIFEX. The public exe- 
cutioner, who inflicted torture and 
scourging upon criminals, and exe- 
cuted the condemned by strangling 
them with a rope. Plaut. Capt. v. 4. 
22. Suet. iVero, 54. 

CARNIFICI'NA. The place in 
which criminals were tortured and 
executed (Liv. ii. 23. Suet. Tib, 62.); 
viz., an underground dungeon beneath 
all the other cells of the gaol. The 
illustration represents the interior ot 




the carnificina in the state prisons at 
Rome, constructed by Servius Tul- 
lius, after whom it was called the 
Tuliianum, and the identical spot in 
which the friends and accomplices 
of Catiline were executed by order of 
Cicero. The criminal was let down 
into it by a rope through the aper- 
ture in the ceiling, and his body 
dragged up again by an iron hook 
{uncus) after the execution. The 
small door- way on the left hand, 
though ancient, does not belong to 



12 2 CA RPENTUM. 

the original construction ; it gives 
admission to a low subterranean gal- 
lery, now filled with rubbish, but 
which, takes a direction towards the 
Tiber, and was, perhaps, intended for 
carrying the dead bodies to the river, 
when they were not dragged out of 
the prison for exposure on the Ge- 
monian stairs. 

CARPENTUM. A two-wheeled 
carriage, with an awning over it, 




and curtains by which it might be 
closed in front (Prop. iv. 8. 23. 
Apul. Met. x. p. 224.); capable of 
containing two or three persons, 
usually drawn by a pair of mules 
(Lamprid. Heliog. 4.), and used by 
the Roman matrons and ladies of dis- 
tinction from remote antiquity. (Ov. 
Fast. i. 619. Liv. v. 25.) The illus- 
tration, which belongs to the earliest 
times, is copied from an Etruscan 
painting (Micali, Italia avanti i Ro- 
mani, tav. 27.), and represents a bride 
and bridegroom, or a married pair, 
as Livy describes Lucumo and his 
wife on their arrival at Rome {sedens 
carpento cum uxore. Liv. i. 34.). 

2. Carpentum funebre, or pompa- 
ticunt. A state carpentum or carriage, 
in which the urn containing the ashes 
of the great, or their statues, were 




carried in the funeral procession. 
(Suet. Cat. 15. Id. Claud. 11. Isidor. I 



CARROBALLISTA. 

Orig. xx. 12. 3.) These were like- 
wise covered carriages, constructed 
upon the same principle as the pre- 
ceding, but more showy and impos- 
ing in character, as may be seen by 
the example, from a medal struck in 
commemoration of one of the Roman 
empresses, its use being further im- 
plied by the form, which, it will be 
observed, is made in imitation of a 
tomb. 

3. A cart employed for agricul- 
tural purposes, and apparently of 
very common and general use ; for 
the same word is frequently applied 
in the sense of a cart-load, as of dung, 
&c, to indicate a certain quantity, 
which every one would immediately 
recognise, as in the English phrase, 
"a load." (Pallad. x. 1. Veget Mid. 
Med. iv. 3, Prcef.) It was probably 
built like the first of the two speci- 
mens, but of coarser workmanship, 
and without the awning. 

CARPTOR. The carver; a slave 
whose duty it was to carve the dishes 
at grand entertainments before they 
were handed round to the guests. 
Juv Sat. ix. 1 10. 

CARRA'GO. A species of forti- 
fication adopted by many of the bar- 
barous nations with whom the Romans 
came into collision. It was effected 
by drawing up their waggons and 
war-chariots into a circle round the 
positions which they occupied. Amm. 
Marc. xxxi. 7. 7. Trebell. Gallien. 
13. Veget. Mil. iii. 10. • 

CARROBALLISTA. A ballista 
mounted upon a carriage, and drawn 
by horses or mules for the conve- 
nience of transport from place to 




place, or to different points in the 
scene of action. (Veget. Mil. iii. 



CARRUCA. 

24. Id. ii. 25.) The illustration re- 
presents an engine of this description, 
as it is expressed on the Column of 
Antonine ; but it is too imperfect in 
point of detail, to give an adequate 
idea of the constructive principle upon 
which such machines acted. 

CARRU'CA or CARRU'CHA. 
A particular kind of carriage intro- 
duced at Rome under the Empire 
(at least mention of it first occurs 
in Pliny, and it subsequently becomes 
common in Suetonius, Martial, and 
others). Its precise form and char- 
acter is a matter of mere conjecture ; 
but it is clearly distinguished from 
the covinus and essedum by Mar- 
tial {Ep. xii. 24.) and from the 
rheda by Lampridius {Alex. Sev. 
43.). It was at all times a vehicle of 
costly description, and highly orna- 




mented ; at first, by carvings in 
bronze and ivory (Aurel. Vopisc. 
46.), and afterwards by chasings in 
silver and gold. (Plin. H. N. xxxiii. 
40. Mart. Ep. iii. 62.) This de- 
scription agrees so far with the figure 
in the annexed engraving, represent- 
ing the carriage of the prefect of 
Rome from the Notitia Imperii, and 
in which the metal ornaments are 
very apparent. It may, therefore, by 
a plausible conjecture, be regarded as 
affording a type of these convey- 
ances, but the Latin writers certainly 
make use of the term at times in a 
general sense, without intending 
thereby to designate any particular 
build (as in Suet. Nero, 30. and 
Mart. Ep. iii. 47., where the same 
vehicle is indiscriminately termed 
c'arruca and rheda), and the word re- 



CARTIBULUM. 1 23 

tained this usage in after times, for it 
contains the elements of the Italian 
carrozza, and our carriage, both of 
which are general expressions. 

2. Carruca dormitoria. A close 
carrnca (Scaevol. Dig. 34. 2. 11.); the 
carruca undique contecta of Isidorus, 
Orig. xx. 12. 3. 

CARRUCA'RIUS. Belonging to 
a carruca ; an epithet applied to the 
coachman who drove it (Capitol. 
Maxim, jun. 4.), and to the horses or 
mules which drew it. (Ulp. Dig. 21. 
1. 38.) See the preceding word and 
illustration. 

CARRUS. A small two-wheeled 
cart with boarded sides all round, 
used chiefly in the Roman armies 
for a commissariat and baggage wag- 
gon, as in the example, from the 
Column of Trajan, on which such 




vehicles are frequently represented. 
The name is of Celtic origin, as was 
the vehicle itself, having been ex- 
tensively employed by the ancient 
Britons, Gauls, Helvetii, &c. Sisenn. 
ap. Non. s.v. p. 125. Li v. x. 28. Cses. 
B. G. i. 3. 

CARTIB'ULUM. A particular 
kind of table, made of stone or mar- 







ble, with an oblong square slab for 
the top, and supported by a single 
central pedestal, or after the manner 



124 CARYATIDES. 

of those now called console tables by 
our upholsterers. It was not used 
as a dining-table, but as an orna- 
mental slab or sideboard for holding 
the plate and vases belonging to the 
household, and used to stand on 
one side of the atrium with the 
vessels arranged upon it. (Varro, 
L. L. v. 125.) This account from 
Varro is accurately illustrated by the 
engraving, which represents a marble 
table of the kind, as it was discovered 
on the margin of the impluvium in 
the house of the Nereids at Pompeii. 
Behind it is a fountain, and under- 
neath it there is a sort of sink, divided 
into two compartments, into which 
the drainings or residue from the 
vessels were emptied before they 
were put upon the table. 

CARYAT'IDES (K.apva.TiStc). 
Female figures employed instead of 
columns by the ancient architects to 
support an entablature, as seen in the 
annexed engraving, which represents 




the portico attached to the temple of 
Pandrosos at Athens. Vitruv. i. 1.5. 

C A S A. Generally a cottage ; 
understood in the same latitude of 
meaning which we apply to that 
word in our own language ; for in- 
stance : — 

I. A cottage proper (Vitruv. ii. I. 



CAS A. 

3. and 5. Pet. Sat. 115. 6.) ; the first 
regular effort in building of the 
pastoral ages, and which continued 
afterwards as the constant model for 
the residence of a village population. 
Of this description was the thatched 
cottage of Romulus on the Capitoline 
hill (casa Romuli, Vitruv. ii. 1. Pet. 
Fragm. 21. 6.), and those of the abo- 
riginal inhabitants of Latium, of 
which the illustration here introduced 




may be regarded as an authentic and 
highly curious example. It is copied 
from an earthenware vase now pre- 
served amongst the Egyptian and 
other antiquities in the British Mu- 
seum, but originally employed as a 
sepulchral urn, which was discovered 
in the year 181 7 amongst several 
others in the form of temples, hel- 
mets, &c, at Marino,- near the ancient 
Alba Longa, imbedded in a sort of 
white earth under a thick stratum of 
volcanic lava (the Italian peperino), 
which flowed from the Alban mount 
before its eruptions became extinct ; 
previously to which period these vases 
must in consequence have been depo- 
sited there, an irresistible proof of 
their great antiquity. Visconti, Let- 
tera al Sigr. Giuseppe Carnevali, sopra 
alcuni Vasi sepolcrali rinvemiti nella 
vicinanza delta antica Alba Longa. 
Roma. 181 7. 

2. A small country-house (Mart. 
Ep. vi. 43.) ; built, as we should say, 
in cottage fashion, upon a far less 
grand or magnificent scale than the 
regular villa or country mansion, as 
represented in the annexed engraving, 
from a painting at Pompeii, which 



CASE US. 



CASTELLUM. 



affords a good idea of the small 
Roman country-house, with its court- 




yard, outbuildings, and live stock. 
When Martial (£p. xii. 66.) used the 
words domus and casa as convertible 
terms, it is purposely and pointedly, 
in order to insinuate that the domus 
or town-house was but a poor and ill- 
built one ; i. <?., no better than a casa 
or cottage. 

3. A bower or rustic arbour, made 
of osiers and branches, and sometimes 




covered with vines, as in the example 
from the ancient mosaic of Prseneste. 
Tibull. ii. 1. 24. 

4. A sort of wigwam or hut which 
the soldiery sometimes formed with 
branches of trees, as a substitute for a 
tent. Veget. Mil. ii. 10 

CA'SEUS (rvtfs). Cheese (Varro, 
L. L. v. 108.) ; which the ancients 
made from the milk of cows, sheep, 
and goats (Varro, R. R. ii. 11.), and 
ate in a fresh state, like cream cheese, 
or dried and hardened. (Id. ib.) It 
was also pressed and made into orna- 
mental shapes by boxwood moulds 
(Columell. vH. 8. 7.). Pliny (ff. A 7 ". 



xi. 97.) enumerates the different 
places where the best cheeses were 
made. 

CASS'IDA. Same as Cassis. 

CASSIDA'RIUS. An armourer 
who makes metal helmets. Inscript. 
ap. Murat. 959. 5. 

2. An officer whose duty it was to 
take charge of the metal helmets in 
the Imperial armoury. Inscript. ap. 
Reines. 8. 70. 

CAS'SIS, -iais (Kopvt;). A casque 
I or helmet made of metal, as contra- 
distinguished from Galea, a helmet 
of leather (Isidor. Orig. xviii. 14. 
compare Tac. Germ. 6. ) ; but this 
distinction is not always observed (Ov. 
Met. viii. 25., where both names are 
given to the same helmet) ; and as 
the latter is the more common name, 
the different kinds and forms are 
described and illustrated under that 
word. 

CASSIS, -is (dpicvc). One of the 
nets employed by the ancients in 
hunting wild animals, such as boars 
and deer. (Isidor. Orig. xix. 5. 4. 
Ov. A. Am. i. 392. Mart. Ep. iii. 
58.) It was a sort of purse or tunnel 
net, the mouth of which was kept 
open by branches of trees, and so 
deceived the animal who was driven 
into it, when it was immediately 
j closed by a running rope {epidromus) 
round the neck. Yates, Textrin. 
Antiq. p. 422. 

CASTELL A'RIU S. An officer 
w ho had the charge of superintending 
the public reservoir (castellum) of an 
aqueduct. Frontin. Aq. 117. Inscript. 
ap. Grat, 601. 7. 

CASTEL'LUM. Diminutive of 
Castrum. A small fortified place 
or fortress in which a body of soldiers 
was stationed, either in the open 
country to protect the agricultural 
population from the incursions of 
hostile tribes, or on the frontiers, to 
guard the boundaries of the state, or 
in any other position which com- 
manded the main road and lines of 
intercommunication. (Sisenn. ap. 
Non. s. Festinatim. p. 514. Cic. Fain. 



126 



CASTELLUM. 



CASTER1A. 



xi. 4. Id. Phil. v. 4.) The illus- 
tration represents one of these for- 




tified posts with its garrison, from the 
Vatican Virgil. 

2. A small fortified town ; so called 
because many of the forts, originally 
intended as mere military posts, grew 
into towns and villages from the 
neighbouring population flocking to 
them, and building their cottages 
about the fort, for the sake of pro- 
tection ; just as the baronial castles of 
the feudal ages formed a nucleus for 
many of the towns in modem Europe. 
Curt. v. 3. 

3. The reservoir of an aqueduct ; 
formed at its city termination, or at 
any part of the line, where a head 
of w r ater was required for the supply 
of the locality ; and into which the 
main pipes were inserted for the pur- 
pose of distributing the water through 
the various districts of a city. 
(Vitruv. viii. 6. 1. Plin. H. N. xxxvi. 
24. § 9. Frontin. Aq. 35.) In ordi- 
nary situations, these were plain 
brick or stone towers containing a 
deep cistern or reservoir within them, 
but at the termination of the duct 
when it reached the city walls, the 
castellum was designed with a regard 
to ornament as well as use, having a 
grand architectural facade of one or 
more stories, decorated with columns 
and statues, and forming with its waste 
water a noble fountain which poured 
its jets through many openings into 
an ample basin below {Vitruv. /. c.) ; 



as seen in the illustration here in- 
serted, which is a restoration of the 
castellum belonging to the Julian 
aqueduct, still remaining, though in 




a dilapidated state, at Rome, near the 
church of S. Eusebio ; but the details 
here introduced are authorised by an 
old drawing of the structure executed 
In the 1 6th century, when the prin- 
jipal ornaments were still in their 
original situations, and the whole in 
a much more perfect condition than at 
present. 

4. Castellum privatum. A reservoir 
built at the expense of a certain 
number of private individuals living 
in the same district, and who had 

I obtained a grant of water from the 
I public duct, which was thus collected 
into one head from the main reser- 
voir, and thence distributed amongst 
themselves by private pipes. Fron- 
tin. 106. compare 27. 

5. Castellmn domcsticum. A cis- 
tern which each person constructed 
on his own property to receive the 
water allotted to him from the public 
reservoir. Frontin. 

6. A cistern or receptacle, into 
which the water raised by a water- 
wheel was discharged from the 
scoops, buckets, or troughs {modioli) 
which collected it. (Vitruv. x. 4. 3. 1 
See Rota Aquaria. 

CASTERTA. A place in which 
the oars, rudders, and moveable gear 
of a vessel were laid up, when the ship 
was not in commission ; or, as others 
think, a particular compartment in 
the vessel itself, to which the rowers 
retired to rest themselves when re- 
lieved from duty. Non. s. v-. p. 85. 



CASTR A. 



I2 7 



Plaut. Asin. iii. i. 16. Scheffer, Mil. 
Nav. ii. 5. 

CASTRA. Plural of Castrum. 
An encampment, or fortified camp. 
The arrangement of a Roman camp 
was one of remarkable system and 
skill. Its general form was square, 
and the entire position was sur- 
rounded by a ditch {fossa), and an 
embankment {agger) on the inside of 



it, the top of which was defended 
by a btiong fencing of palisades {val- 
lum). Each of the four sides was 
furnished with a wide gate for ingress 
and egress ; the one furthest removed 
from the enemy's position (a) was 
styled porta decumana ; that immedi- 
ately in front of it (b) porta prcetoria ; 
the one on the right hand (c). porta 
principalis dextra ; the other on the 



2nd Legion 



1st Legion 




Via Principalis 



OODDDDD'DDD 



onnnnnnnnnn 




left (d), porta principalis sinistra. 
The whole of the interior was divided 
into seven streets or gangways, of 
which the broadest one, running in a 
direct line between the two side 
gates, and immediately in front of the 
general's tent {prcstorium), was 100 
feet wide, and called Via Principalis-. 
In advance of this, but parallel to it, 
was (another street, called Via Quint 
tana, 50 feet wide, which divided the 
whole of the upper part of the camp 
into two equal divisions ; and these 
were again subdivided by five other 
streets of the same width, intersecting 



! the Via Quintana at right angles. The 
j tents and quarters of the troops were 
then arranged as follows : — 1. The 
prcctorium, or general's tent. 2. The 
qzicBstornitn, a space allotted to the 
quaestor, and the commissariat stores 
under his charge. 3. The forzim, a 
sort of market-place. 4. 4. The 
tents of the select horse and volun- 
teers. 5. 5. The tents of the select 
foot and volunteers. 6. 6. The 
j Equites Extraordinarii, or extraordi- 
j nary cavalry furnished by the allies. 
7. 7. The Pedites Extr aor dinar ii, or 
extraordinary infantry furnished by 



128 



C ASTRA. 



CASULA. 



the allies. 8. 8. Places reserved for 
occasional auxiliaries. 9. 9. The 
tents of the tribunes, and of the pra- 
fecti sociorum, or generals who com- 
manded the allies. This completes 
the upper portion of the camp. The 
centre of the lower portion was 
allotted to the two Roman legions 
which constituted a consular army, 
flanked on each side by the right and 
left wings, composed of allied troops. 
The manner in which these were 
respectively quartered will be at once 
understood by the names of each, 
which are written in the engraving 
over their respective positions. Fi- 
nally, the whole of the interior was 
surrounded by an open space, 200 
feet wide, between the agger and the 
tents, which protected them from fire 
or missiles, and facilitated the move- 
ments of the troops within. The plan, 
drawn out after the description of 
Polybius, when the Roman armies 
■were divided by maniples, is inserted 
in order to illustrate the general 
method upon which a Roman camp 
was constructed, and not as an au- 
thentic design from any ancient 
monument. Some of the minor de- 
tails were necessarily altered after the 
custom of dividing the legions into 
cohorts, instead of maniples, had ob- 
tained ; but the general plan and prin- 
cipal features of the interior distribu- 
tion remained the same. 

2. Castra Pnetoriana. The per- 
manent camp on the skirts of the 
city of Rome, in which the Praetorian 
guards were stationed. (Suet. Claud. 
21. Tac. Ann. iv. 2.) A portion of 
the high brick wall which enclosed it, 
with one of the gates, is still to be 
seen standing near the Porta Pia, 
where it forms a part of the present 
city walls, into the general circuit of 
which it was taken when they were 
extended by Aurelian. 

3. Castra navalia or uautica. A 
naval encampment ; i. e., a line of 
fortification formed round the ships 
of a fleet, to protect them from the 
enemy, when they were drawn up 



epos, 




ashore. Caes. B. G. v. 22. N 
Alcib. 8. 

CASTRUM. An augmentative 
of Casa, meaning in its primary 
sense a large or strongly-built hut, 
and thence a fort or fortress ; though 
the diminutive Castellum was re- 
tained in more common use. Nepos, 
Alcib. 9. Virg. ^-Eji. vi. 776. 

CAS'TULA. A woman's petti- 
coat ; worn next the skin, and fas- 
tened under the 
breast, which it left 
exposed. (Varro, 
de Vit. Pop. Rom. 
ap. Non. s. v. Cal- 
tula, p. 584.) In 
early works of art, 
it is often repre- 
sented as the only 
under garment, or 
sole article of the 
attire, similar to the 
figure in the en- 
graving, from a bas-relief on an 
Etruscan tomb ; but the Roman 
women mostly wore a tunic or some 
other article of dress over the breast 
and shoulders, so that the two 
covered the person as much as an 
upper and under tunic ; in which case 
the upper part of the petticoat, as 
well as the bosom, is concealed under 
the skirts of the outer covering. In 
this manner it is worn by Silvia in 
the Vatican Virgil (p. 146.), and by 
a female figure amongst the Pompeian 
paintings. Mus. Borb. xiv. 2. com- 
pare xii. 57., where the castula is put 
on over a long-sleeved tunic, but fas- 
tened over the shoulders and round the 
waist in the same manner as above. 

CA'SULA. Diminutive of Casa. 
Any very small 
cottage or humble 
dwelling in gene- 
ral ; but, more es- 
pecially, a tempo- 
rary hut or cabin 
of a conical form, 
which sheep and 
goat-herds erected 
on the lands where 




CA TACLISTA. 



CA TAGRAPHA. 



I29 




their flocks pastured ; and agricultural 
peasants in the fields for their shelter 
at harvest time. (Plin. H. N. xxxv. 
37. Juv. Sat. xi. 153.) The ex- 
ample is from a Pompeian painting 
representing a rustic scene ; and the 
illustration introduced in Caprarius 
shows a goat-herd's hut of similar 
character. The second meaning be- 
longing to this word is also an evi- 
dence of the first. 

2. A hooded cloak or capote ; such 
as was worn by the country people, 
and universally given to 
Tele>phorus, the attendant 
of /Esculapius, as he is re- 
presented in the annexed 
example, from an engraved 
gem. When the hood is 
drawn over the head, as 
here, the whole garment 
presents an appearance very 
similar to the cabin last 
described, and from this resemblance 
the term originated, being probably 
a sort of nick-name, or familiar word 
amongst the lower orders. Isidor. 
Orig. xix. 24. 17. 

CATACLIS'TA sc. resits (Apul. 
Met. xi. 245. ; but neither the read- 
ing nor the meaning of the word is 
free from uncertainty). A term 
which some have interpreted to mean 
a dress kept shut up in the wardrobe, 
and only taken out to be worn upon 
great occasions as a holiday dress 
(Salmas. ad. Tertull. de Pall. 3.); 
others, with more apparent reason, a 
garment without any opening, but fit- 
ting tight and close to the person, like 
those commonly seen on Egyptian 
statues. Visconti, Mus.Pio-Clem. vi. 14. 

CATAD'ROMUS. A rope ex- 
tended in a slanting position from the 
ground to some elevated point in 
a theatre, upon which rope-dancers 
ascended and descended ; a feat 
which, however extraordinary it may 
appear, is also recorded to have 
been performed in the Roman amphi- 
theatre by an elephant with a rider 
on its back. (Suet. Nero, n. com- 
pare Galb. 6. and Plin. 77. N. viii. 2.) 



The illustration is from a medal of 
Caracalla ; the slanting ropes and 




the dancers on them are clearly in- 
dicated, while the baskets and palm 
branches on the top represent the 
prizes for those who succeed in 
reaching up to them. 

CATAG'RAPHA (ra Karaypa<pn). 
Paintings in which the figures are 
drawn in perspective, or, as the artists 
have it, foreshortened, so that, al- 
though the whole figure is repre- 
sented, only a portion of it is seen by 
the spectator (Plin. H. N. xxxv. 34.) ; 
a practice now considered as indi- 
cating great skill on the part of the 
artist, but which the ancient painters 
seldom had recourse to. The il- 
lustration here introduced is from a 




Pompeian picture, which represents 
Agamemnon conducting Chryseis on 
board the vessel which was to con- 
vey her to her father. The figure of 
Agamemnon is slightly foreshortened 
in its upper portion ; but, slight as 
that is, it is the closest approximation 
toward such a mode of treatment 
discoverable in the whole of the 



130 



CA TAPHRACTA. 



CA TAPULTA. 



works executed by the artists of Pom- 
peii, Even in the celebrated mosaic 
which represents the battle of Issus, 
the largest pictorial composition, and 
richest in number of figures, which 
has descended to us, the whole of 
them are represented in full front 
or side views, and in postures nearly 
erect, though in the most energetic 
action. But, with the exception of 
some arms and legs, and one liorse 
which has his back turned to the 
spectator, there is no attempt at fore- 
shortening the figure in the sense 
now understood, whereby an entire 
figure is portrayed upon the canvas, 
within a space which otherwise would 
only admit a part of it. Even the 
three men who are wounded, and 
upon the ground, have their bodies 
presented in profile, and at full length, 
their legs and arms only being slightly 
foreshortened. The same observa- 
tions are equally applicable to the 
designs on fictile vases. 

CATAPHRAC'T A (™ra0pd- 
kt>]c). A term employed by Vegetius 
to designate generally any kind of 
breast-plate worn by the Roman in- 
fantry from the earliest period until 
the reign of the Emperor Gratianus. 
Veget. Mil, i. 20. 

C AT AP H R ACT A'RI U S. Same 
as Cataphr actus. Lamprid. Alex. 
Set'. 56. Ammian. xvi. 2. 5. Ib. 10. 
8. and 12. 63. 

C AT AP H RAC'TUS {Kara<p P a- 




ktoc). A heavy-armed cavalry sol- 
'dier (Sallust. ap. Non. s. v. p. 556.), 



whose horse, as well as himself, was 
covered with a complete suit of ar- 
mour (Serv. ad Virg. ALu. xi. 770.), 
like the scaled back of a crocodile 
(Ammian. xxii. 15, 16.) ; more es- 
pecially characteristic of some foreign 
nations ; the Parthians (Prop, hi; 12. 
12.), Persians (Liv. xxxvii. 40.), and 

i Sarmatians (Tac. Hist. i. 79.), as 
shown by the illustration represent- 

1 ing a Sarmatian cataphract, from the 
Column of Trajan. 

2. Sisenna {ap. Non. /. r.) applies 

; the same term to an infantry soldier, 
by which it is to be understood that 
he is armed cap-a-pie in heavy body 
armour, consisting of helmet, cuirass, 
cuisses, or thigh pieces, and greaves, 
as seen in the illustration s. OcREATl's. 

CATAPIRA'TES (jSoXi'e), The 
lead which sailors use for taking 




soundings. It had tallow fixed to 
the bottom, in the same way as now, 
for the purpose of ascertaining the 
nature of the ground, whether of 
sand, rock, pebbles, or shells, and if 
fit for anchorage or not. (Lucil. 
Sat. p. 82. II. ed, Gerlach. Isidor. 
Orig. xix. 4. 10.) In the illustra- 
tion, from a marble bas-relief, of 
which there is a cast in the British 
Museum, it is represented as hanging 
from the head of a vessel. 

CATAPULT A (/c«r«7r*\-?/c). A 
military engine constructed princi- 
pally for discharging darts and spears 
of great substance and weight (Paulus 
ex Fest. s. Trifax) ; whence it is 
sometimes put for the missile which 
it discharges. (Titin. ap. Non. s. v. 
p. 552. PJaut. Pers. i. I. 27.) This 
machine is described in detail by 
Vitruvius (x. 15.), and it appears no 



CA TA P UL TAR I US. 



CA TARACTA. 



less than six times on the Column of 
Trajan, from one of which the an- 
nexed representation is taken ; but 




the details are not sufficiently cir- 
cumstantial in any one of them to 
illustrate satisfactorily the words of 
Vitruvius, or to show the precise 
manner in which it acted, beyond the 
general fact that it projected the 
missile by the force of its rebound, 
when the cross bar was drawn back 
from one of the sides, and then 
allowed to fly to again with a recoil. 
It was also employed, in the same 
manner as the battista, for projecting 
large blocks of stone (Cces. B. C. ii. 
9.); for which purpose the arch in the 
centre seems intended, in order to 
let the mass pass ; and it was also 
placed at times upon a carriage, and 
transported by horses or mules, like 
the carro-ballista, as proved by the 
next woodcut. 

CATAPULTA'RIUS (jcara^X- 
rtKOf). Anything used with, or be- 
longing to, a catapult ; hence ' piluWi 
catapultarium (Plant. Cure, iii. c. 




11.), a dart of a large and heavy 
description, made for the purpose of 
being projected, from the catapirfta. 
(Compare Polyb. xi. II. 3.) The 
illustration is taken from the Column 
•of Trajan, and also affords an insight 



into the manner of using and working 
these engines. 

CATARACT A or CATARAC- 
TES (KctrappaKTiji;). A cataract, 
cascade, or sudden fall of water from 
a higher to a lower level, like the 
falls of Tivoli or Terni. Plin. H. N. 
v. 10. Vitruv. viii. 2. 6. 

2. A sluice, flood-gate, or lock in a 
river, either for the purpose of mode 
rating the rapidity of the current 
(Plin. Ep. x. 69.), or for shutting in 
the water, so as to preserve a gocd 
depth in the stream. (Rutil. i. 481.) 
The illustration is copied from one of 




the bas-reliefs on the arch of Septimius 
Severus. It will be observed, that the 
Roman artist, in accordance with the 
practice of his school, has indicated 
rather than expressed his meaning. 
The floodgate itself is omitted, but the 
waterway which it would close, and 
the uprights by which it would be 
kept in its place, and made to slide 
up and down, are distinctly shown. 

3. A portcullis, suspended over the 
entrance of a city or fortified place, so 




that it could be let dow n or drawn up 



132 CATA SCOPIUM. 



CA TELL US, 



by iron rings and chains at pleasure. 
(Liv. xxvii. 28. Veget. Mil. iv. 4.) 
In one of the ancient gate-ways still 
remaining at Rome, another at Tivoli, 
and also at Pompeii, the grooves in 
which the portcullis worked are 
plainly apparent ; and the example 
here introduced, from an ancient 
fresco painting, where it defends the 
entrance to a bridge, exhibits the 
chains and ring by which it was 
worked, precisely as mentioned by 
Vegetius. The grating which closed 
the entrance does not appear in the 
original, which may be the effect of 
age ; or, perhaps, it was not a regular 
portcullis, but only a movable bar 
raised and lowered at certain hours 
to close the passage against travellers 
or cattle ; but in either case it is suf- 
ficient to exhibit the character of such 
contrivances amongst the ancients. 

CATASCOFIUM. Diminutive 
of Catascopus. A small vessel 
employed as a spy-ship, to keep a 
watch or look-out. Aul. Gell. x. 25. 

CATAS'COrUS {KCtTaOKOTTOQ). 

A spy or scout. Hirt. Bell. Afr. 26. 

2. A vessel employed as a spy- 
ship. Ca?s. B. G. iv. 26. Isidor. 
Ong. xix. I. 

CAIWS'TA. An elevated wooden 
frame or platform upon which slaves 
were placed when exposed for sale in 
the slave market, in order that the 
purchaser might examine them, to 
discover their points or defects. 
(Tibull. ii. 3. 60. Fers. vi. 77. Suet. 
Gramm. 13.) From an expression of 
Statius (Sylv. ii. 1. 72. turbo calasfre), 
it would appear that the machine was 
made to revolve, like the stands used 
for statues, that the purchaser might 
have an opportunity of inspecting 
the structure of the figure exposed all 
round. 

2. Catasta arcana. An apparatus 
of- similar description, on which the 
most valuable and beautiful slaves 
were shown, not in the public market, 
but privately in the depots of the 
dealers. Mart. Ep. ix. 60. 5. 

3. An iron bed or grating under 



which a fire was kindled, and on 
which criminals were sometimes laid 
to be tortured, and some of the early 
martyrs roasted alive. Prudent. Iltpi 
OT«p. i. 56. Id. ii. 399. 

CATE'JA. A missile employed 
in warfare by the Germans, Gauls. 
Hirpini, &c. It was a spear of con- 
siderable length and slender shaft, 
having a long cord attached to it, 
like the harpoon, so that it could be 
recovered by the person who had 
launched it. Virg. JEri. vii. 742. 
Serv. ad I. Sil. iii. 277. Isidor. Orig. 
xviii. 7. 7. 

CATELLA (a\volciov). A di- 
minutive of Catena ; but generally 
used to indicate the smaller and finer 
sorts of chains made by jewellers in 
gold or silver, and used for trinkets, 
or any of the various purposes to 
which similar articles are applied in 
our own days. (Hoi-. Ep. i. 17. 55. 
Liv. xxxix. 31. Cato, R. R. 135.) 
The example here introduced, from a 




Pompeian original, exhibits a small 
bronze chain of a pattern very com- 
monly found ; but the excavations 
made at different times in that city 
and other parts of Italy have pro- 
duced a great variety of other de- 
signs, affording specimens of all the 
patterns now made, as well as some 
others, which cannot be imitated by 
modern workmen. 

CATELLUS. A diminutive of 
Catena ; a small chain made use of 
for the confinement of slaves, but 



CA TEN A. 

whether of any special character, it 
is difficult to determine. From the 
passage of Plautus where the word 
occurs {Cure. v. 3. 13.), it may be 
surmised that the catellits was some- 
thing like what is now called a 
"clog" which is attached to the legs 
of animals to prevent them from 
straying, and which might have been 
fastened, as a punishment, to the leg 
of a slave ; the term thus originating 
in a pun upon the word cam's (Becker, 
Qucest. Plautin. p. 63. Lips. 1837.), 
the clog and chain having a sort of 
affinity to a dog with its chain. 

CATE'NA (u\vmr). A chain, 
formed by a series of iron links in- 
terlacing with each other. (Cic. 
Virg. Hor. Ov. &c.) The chains 
of the ancients were made exactly 
like our own, as shown by the illus- 
tration, which represents some of the 
links of an ancient chain now pre- 
served as a sacred relic in the Church 
of S. Pietro in Vinculis at Rome, 
and which gave its title to the church ; 
for it is there said to be the identical 
one with which St. Peter was chained 
in the Tullianum, or Servian prison. 
See Cancellieri, Car cere Tulliano, 



CATENATUS. 133 
placed, as here, upon the naked body 




where all the evidence upon which this 
tradition depends is stated at length. 

2. A chain of gold or silver worn 
by women as an ornament round the 
body, or over the shoulder and sides, 
like a balteus (Plin. H. N. xxxiii. 12.) 
Ornaments of this description are 
frequently depicted in the Pompeian 
paintings, from one of which the 
illustration is taken ; and always 




of goddesses, bacchanals, dancing 
girls, and persons of that description. 

CATENA'RIUS, sc. Canis. A 
yard or watch dog, chained up to 
protect the premises from strangers. 
The Romans kept dogs in this way 
at the entrance of their houses by the 
side of the porter's cell, with the 
notice, Cave canem — "Beware 
of the dog," written up (Pet. Sat. 
19. 1. Id. 72. 7. Seneca, Ira, 3. 
37.) ; as is also shown in the an- 




nexed illustration, from a mosaic, 
which forms the pavement of the 
prothyrum in the house of the "tragic 
poet," as it is called, at Pompeii. 

CATENA'TUS (aXvalfcrog). 
Shackled, fettered, or in chains, 
like a slave, criminal, or captive. 
(Flor. iii. 19. 3. Suet. Tib. 64. 
Hor. Epod. vii. 8.) The word does 
not imply that the person so confined 
was chained up, or bound io, another 
object, which is expressed by alli- 
gatus ; but merely that he was bound 
with chains in a manner to impede 



134 CA TER VARIL 

the freedom of his motions, and pre- 
vent an escape by flight. See the 
illustrations s. Catulus and Com- 

PEDITUS. 

CATERVA'RIL Gladiators and 
combatants who fought in companies 
or bodies, and not in single pairs, 
which was the more usual manner. 
Suet. Aug. 45. Compare Cal. 30. 
gre^atim dimicantes. 

CAT II E D' R A (KaOtepa). A 
chair with a back to it, but without 
arms, such as 

was used more VtiV&\ 
especially by fe- 1LJ ==J] 

males (Hor. Sat Jjlill 
i. 10. 91. Mart. ^^T^^lj 
hence when as-> I J 1 j|| ij 
signed to males, it J | ft JM 
frequently implies T-f 4fflf ¥f 
a notion that they Yf if jn E 
were of idle, lux- _fl___Jjl IJ 
urious, or effeini- i^PSSlpffP 
nate habits. (Juv. 

Sat ix. 52.) The illustration repre- 
sents Leda's chair, from a Pompeian 
painting. 

2. Cathedra supina. A chair with 
a long deep seat (hence cathedra 
longa. Juv. Sat. ix. 52. ), and reclining 
back (whence supina. Plin. H. A. 
xvi. 68.), such as we might call an 




easy or lounging chair. The ex- 
ample is from a Greek fictile vase, 
and represents one of the masters 
who taught the young men their 
exercises in the gymnasium (7raiSo- 
rp/'/3»jc). A marble in the Capitol 
at Rome shows the empress Agrip- 
pina sitting in one of a similar 
character. 



CA TILL US. 

3. Cathedra strata. A chair co- 
vered with a cushion, as seen in the 
first engraving. Juv. /. c. 

4. The chair in which philosophers, 
rhetoricians, &c, sat to deliver their 
lectures ; a professor 's chair (Juv. 
Sat. vii. 203. Mart. Ep. 1. 77.), of 
which the last illustration probably 
affords the type. 

5. A sedan chair (Juv. Sat. i. 
65. ) ; but the word appears to be used 
there as an intentional misnomer for 
sella gestatoria or lectica, to give force 
to the satire. Cf. Schaeffer. Re. Vehic. 
ii. 4. p. 64. 

6. More recently, the chair in 
which the bishops of the early Chris- 
tian Church sat during divine service 
(Sidon. in cone, post Epist. 9. I. 7.) ; 
from which the principal church of a 
diocese is called "the cathedral;" 
i.e. in which the bishop's chair is 
placed. 

CATH'ETER ( K a9^,)p). Pro- 
perly, a Greek word, for which the 
Romans used fistula a^nea (Celsus, 
vii. 26. I.); a catheter, or surgical 




instrument employed in drawing off 
the water, when suppressed, from the 
bladder, into which it is inserted. 
(Csel. Aurel. Tard. ii. I. n. 13.) The 
example is from an original, nine 
inches long, discovered at Pompeii. 

CATILLUS and CATILLUM. 
A small dish of the same form and 
character as the catinus, but of less 
capacity, and possibly of inferior 
manufacture. Columell. xii. 57. 1. 
Val. Max. iv. 3. 5. 

2. (ovoc). The upper or outer of 
the two stones in a mill for grinding 
corn (Fa.nl. Dig. 33. 7. 18. § 5.), which 
served as a hopper or bowl into which 
the corn was poured ; whence the name. 
The annexed illustration represents a 
Roman mill now remaining at Pom- 
peii, with a section on the left hand. 
The upper part or basin is the ca- 



CA TINUM. 



tillns, into which the unground corn 
was put ; it was then turned round 
by slaves or animals, and as it turned, 




the ears of corn gradually subsided 
through a hole at its bottom on to 
the conical or bell-shaped stone 
underneath (see the section), between 
which and the inner surface of its 
cap, they were ground into flour. 

3. An ornament employed in de- 
corating the scabbard of a sword 
(Plin. H. N. xxxiii. 54.), which is 
supposed to have been in the form of 
a round silver plate or stud, similar 
to those seen on the sheath of the 
sword inserted under Capulus ; but 
the reading of the passage, as well 
as the meaning of it, if correct, is 
uncertain. 

CATI'NUM or CATI'NUS. A 
deep sort of dish, in which vege- 
tables, fish, and ^ ^^^^^j^ ^^ 

115. Ib. ii 4. 77. //;. i. 3. 92.) The 
illustration, which is copied from a 
series of ancient fresco paintings dis- 
covered near the Church of St. John 
in Lateran, at Rome (Cassini, Piiture 
Antiche, tav. 4. Roma, 1783.), repre- 
senting a number of slaves bringing 
in different dishes at a feast, shows 
the catinus, with a fowl and fish in it, 
precisely as described by Plorace in 
the last two passages cited. 

2. A deep earthenware dish, in 
which some kinds of cakes, pies, or 
puddings were cooked, and served up 
to table in the same ; like our pie- 
dish. Varro, R. R. 84. 



CATOMIDIO. 135 

3. A deep dish made of earthen- 
ware, glass, or more precious mate- 
rials, in which pastiles of incense 

were carried to the — 

sacrifice (Suet. ^ 

Galb. 18. Apul. ^^HEF*"' 
Apol. p. 434.), and thence taken out 
to be dropped upon a small burning 
fire-basket. (See the illustration to 
Focus TURICREMIS.) The illustra- 
tion represents a curious and valuable 
dish of agate, which was brought 
from Cesarea in Palestine in the year 
noi, and is now preserved as a 
sacred relic in the sacristy of the 
cathedral at Genoa, where it goes by 
the name of the sagro catino. It is 
devoutly believed in that city that 
our Saviour partook of the paschal 
lamb with His disciples out of this 
identical dish ; but the smallness of 
its size, and the value of its material, 
sufficiently prove that it was never 
made to contain food, though it might 
have been, reasonably enough, em- 
ployed for the purpose first stated. 

4. An earthenware crucible for 
melting metals. (Plin. H. N. xxxiii. 
21.) The illustrations represent two 
originals, one of red, the other of white 




clay, which were found in an ancient 
Roman pottery at Castor in Northamp- 
tonshire. Artis. Durobriv. pi. 38. 

5. A particular member of the 
forcing pump invented by Ctesibius. 
(Vitruv. x. 12.) See the conjectural 
diagram in Ctesibica Machina, in 
which the Catinum is marked A. 

CATOMIDTO To 
"hoist" one upon the shoulders of 
another, for the purpose of inflicting 
a flogging ; a mode of punishment 
which, amongst the Romans, was 
applied to grown-up persons, as well 
as boys. (Pet. Sat. 132. 2. compare 
Apul. Met. ix. p. 196. Spart. Hadr. 



CA TUL US. 



C A UPON A. 



1 8.) The illustration represents the 
whole process as taking place in a 




school-room at Herculaneum, from a 
painting discovered in that city. 

CAT'ULUS. A chain attached to 
an iron collar (collare) round the 
neck, like a dog's chain, by which 
runaway slaves, when recaptured, 
were brought back to their masters. 
(Lucil. Sat. xxix. 15. ed. Gerlach. 
Cum manicis, catulo, collarique, with 
manacles, leading chain, and neck 
collar.) The illustration, from the 




Column of Antonine, representing a 
barbarian capitve, shows both the 
collar and chain attached to it, as 
mentioned by Lucilius. 

CAUDEX. See Codex, which 
is the more usual spelling. 

CAUDICA'RIUS or CODICA'- 
RIUS. Naves caudicarue. Large 
boats employed upon the Tiber, and 
made of coarse planking roughly 



joined (Varro, de Vit. Pop. Rom. ap. 
Non. s. v. p. 535. Festus. s. v.) ; pro- 
bably so constructed, because the 
rapidity of the current rendered it 
difficult to remount the stream ; and 
they could thus be broken up or taken 
to pieces, without much loss, upon 
reaching the mouth of the river or 
their place of destination, as was the 
usual pi - actice upon the Rhone before 
the introduction of steam navigation. 

C AUDIC'I U S, sc. lembus. A 
vessel of similar character as the pre- 
ceding, employed upon the Moselle. 
Auson. Mosell. 197. 

Cx\ULA. A general name for 
any place surrounded with fences, so 
as to form an enclosure, as a sheep- 
fold, &c. Festus, s. v. Virg. sEn. ix. 
61. Serv. ad I. 

CAULIC'ULI. In architecture, 
the eight smaller leaves or stalks in 
a Corinthian capital which spring 
out of the four larger or principal 
ones, by which the eight volutes of 
the capital are sustained. (Vitruv. 
iv. I. 12. Gwilt, Glossary of Archi- 
tecture, s. v.) They are easily dis- 
tinguished upon any Corinthian 
capitals. See Capitulum 6. ; but, in 
consequence of the very diminished 
size of the drawing, it is difficult to 
make them sufficiently prominent. 

C A U P O. The master or keeper 
of a caupona ; i.e. 1. An innkeeper 
(£t I'odoicot,), who receives travellers 
in his house, and furnishes them with 
food and lodging (Cic. Div. i. 27.) ; 
2. a publican (tccnrrjXo^), who furnished 
strangers with drink or food, but not 
with lodgings. Mart. Ep. i. 27. ib. i. 
57., and see the next word. 

CAUPO'NA {fa'odoKuov, Kavdo- 
ksiov). An inn, for the accommo- 
dation of travellers, where they 
could De furnished with temporary 
board and lodging. (Hor. Ep. I. II. 
12. Aul. Gell. vii. 11. I.) The old- 
fashioned country inn, or road-side 
house, affords the nearest parallel 
in our language to the ancient cau- 
pona, which has no resemblance to 
the more imposing establishments or 



CAUPONA. 



CAV^DIUM. 137 



hotels, in which people of wealth 
amongst us take up their residence 
for long periods together. It was 
opened for the convenience of the 
poorer and trading classes, and those 
who travelled upon business, not for 
pleasure ; for most other persons had 
private connections, or were furnished 
with introductions, which would en- 
sure them a hospitable entertainment 
in some friend's house wherever they 
went ; and such is still the custom in 
modern Italy, where the traveller 
who diverges from the beaten track, 
is obliged to have recourse to private 
hospitality, in consequence of the 
wretched nature of the places called 
inns. 

2. {KairrjfKiiov). In the large towns, 
the caupona was a place where wine 
and other refreshments, but wine 
more especially, was sold and drunk 
on the premises (Cic. Pis. 22. com- 
pare Mart. Ep. i. 27. ib. 57.) ; and 
thus it had a closer resemblance to 
our tavern, gin, or beer shop ; the 
chief object of which is to retail 
spirits and liquors, though some also 
supply eatables. The illustration re- 
presents the interior of a wine-shop, 
from a painting on the walls of one 




of these establishments at Pompeii ; 
but in the original, a frame for dried 
and salted provisions is also suspended 
from the ceiling, which has been 
omitted, from inadvertence, in the 
engraving ; it is, however, given 
under the word Carnarium. 

3. (/ca7r)j\<c). A female who keeps 
one of these places of entertainment. 
Lucil. Sat. iii. 33. ed. Gerlach. Apul. 
Met. i. p. 6. and 15. 



CAUPO'NIUS, sc. pner. The 
waiter or pot-boy at a tavern, or a 
wine-shop (Plaut. Pan. v. 5. 19.) ; 
see on the right hand in the pre- 
ceding woodcut, the figure who is 
bringing in the wine. 

CAUPO'NULA. Diminutive of 
Caupona ; a low, poor, and common 
wine-shop. Cic. Phil. ii. 31. 

CAU'PULUS or CAUTOLUS. 
A particular kind of boat (Aul. Gell. 
x. 25. 3.), the peculiar characteristics 
of which are unknown, but said to 
belong to the same class as the lembo 
and cymba. Isidor. Orig. xix. i. 25. 

CAU'SIA (Kavtria). A high- 
crowned, and broad-brimmed felted 
hat invented by the >, 
Macedonians. (Val. 
Max. v. I. 4.) ; from %j$^T3ip 
whom it descended to ^1 ^ '7? 
the Romans, and was yy-y^ 
especially worn by 
their fishermen and sailors. (Plaut. 
Mil. iv. 4. 42. Id. Pers. i. 3. 75.) 
The example is from a fictile vase ; 
but it resembles exactly the hat worn 
by Alexander, on a medal. 

CAU'TER and CAUTE'RIUM 
(Kavr)in, Kavri'ipio)'). A cautery or 
branding-iron, used by surgeons, vete- 

rinaries, and others, for branding 
cattle, affixing a stigma upon slaves, 
and similar purposes. (Pallad. i. 43. 
3. Veget. Vet. i. 28.) The example 
represents an original, four inches 
long, which was discovered in a sur- 
geon's house at Pompeii. 

2. An instrument employed for 
burning in the colours of an encaustic 
painting ; but as that art, as it was 
practised amongst the ancients, is now 
lost, it is impossible to determine the 
exact character of the instrument, or 
the precise manner in which it was 
used. Mart. Dig. 33. 7. 17. Tertull. 
adv. Hermog. 1. 

C A VADIUM or CAVUM 
/EDIUM. Literally, the void or 
hollow part of a house. To underr 



CA VJEDI UM. 



CAVE A. 




stand the real meaning of this word, 
it is to be observed that in early 
times, or for houses of small dimen- 
sions, the ancient style of building 
was a very simple one, and consisted 
in disposing all the habitable apart- 
ments round four sides of a quad- 
rangle, which thus left a space or 
court-yard in 
the centre, 
without any 
roof, and en- 
tirely open to 
the sky, as 
shown by the 
annexed ex- 
ample, from the Vatican Virgil. This 
hollow space received the primitive 
name of cavum tedium, so truly de- 
scriptive of it : and formed, with the 
suites of apartments all round it, the 
entire house. But as the Romans 
increased in wealth, and began to 
build upon a more magnificent scale, 
adopting the style and plans of other 
nations, they converted this open 
court into an apartment suitable to 
the uses of their families, by covering 
in the sides of it with a roof supported 
upon columns of one story high, and 
leaving only an opening in the centre, 
[compluviuni), for the admission of 
light and air. This practice they 
learnt from the Etruscans (ab Atri- 
atibus Tuscis. Varro, L. L. v. J 6 1.), 
and, therefore, when the cavum 
indium was so constructed, they de^ 
signated it by the name of atrium, 
after the people from whom they had 
borrowed the design. By referring 
to the ground-plans which illustrate 
the article Domus, it will be perceived 
that the atrium is in reality nothing 
more than the hollow part of the 
house, with a covered gallery or 
portico round its sides ; and thus the 
two words sometimes appear to be 
used as convertible terms, and at 
others, with so much uncertainty as 
to bear an interpretation which would 
refer them to two" separate and dis- 
tinct members of the edifice ; and, in 
realitv, in "Teat houses, or in country 



villas which covered a large space of 
ground, and comprised many distinct 
members, with their own appurte- 
nances attached to each, we find that 
both a cavadium and an atrium were 
comprised in the general plan. This 
was the case in Pliny's villa {Pp. ii. 
17.). in which we are to understand 
that the first was an open court-yard, 
without any roof and side galleries 
(whence it is expressly said to be 
light and cheerful, hilare); the other, 
a regular atrmm, partially covered in, 
according to the Etruscan, or foreign 
fashion. There can be no doubt that 
such is the real difference between 
the cavadium and attium ; but when 
the two words are not applied in a 
strictly distinctive sense, as in the 
passage of Pliny above cited, both the 
one and the other may be commonly 
used to designate the same member of 
a house, without reference to any par- 
ticular position or mode of fitting up, 
both of them in reality being situate 
in the hollow, or shell of the house ; 
and, consequently, Vitruvius, as an 
architect, employs the term caviedium 
(vi. 5.) for the style which more 
strictly and accurately resembles an 
atrium. (See that word, and the illus- 
trations there introduced ; which will 
show the different ways of arranging 
a cavcrdium, when taken in its more 
general meaning ) 

CA'VEA. An artificial cage or 
den for wild beasts, made with open 
bars of wood or iron (Hor. A. P. 
473.), in which they were transported 
from place to place (Claud. Cons. 
Stilich. ii. 322-5.); exposed to public 
view, as in a menagerie (Plin. H. N. 
viii. 25.); and sometimes brought into 
the arena of an amphitheatre, to be 
let loose upon the victims condemned 
to fight with them in order to render 
their attack more ferocious than 
would be the case if they were 
emitted from an underground den 
into the sudden glare of open day. 
Vopisc. Prob. 19. 

2. A bird cage, made of wicker- 
work, or sometimes of gold wire 



CA VEA. 



J 39 




(Pet. Sat. 28. 9.), in which singing 
birds were domesticated, and kept in 
private houses ; or the 
call-bird carried out by 
the fowler (auceps) for 
his sport. The passage 
from Petronius, quoted 
above, speaks of a mag- 
pie, suspended in his 
cage over a door, which 
was taught to utter salu- 
tations to all who entered. The ex- 
ample is from a fictile vase in Bol- 
detti, Cimiterj, p. 154. 

3. The coop or cage in which the 
sacred chickens were kept and car- 
ried to the places where the auspices 
were taken, by observing the manner 
in which they fed. (Cic. N. D. ii. 3. 
Id. Div. ii. 33.) The illustration 




represents one of these cages, with 
the chickens feeding, and the handle 
by which it was carried, from a 
Roman bas-relief. 

4. Poetically, a bee-hive. Virg. 
G. iv. 58. See ALVEARE. 

of laths or 




and dyers for airing, drying, ami 
bleaching cloth. (Apul. Met. ix. 
p. 193.) This 
frame was placed 
over a fire-pan, 
or a pot with sul- 
phur kindled in 
it, the use of which 
is well known for bleaching, and the 
cloth was then spread over the frame, 
which confined the heat, and excluded 
the air. The example here given is 
from a painting in the fuller's estab- 
lishment {fullonica) at Pompeii. In 
the original, a man carries it on his 
head, and the pot of sulphur in his 
hand ; but it has been drawn here 
standing on the ground, with the 
vessel of sulphur placed underneath 
it, precisely in the same way as it is 
now commonly employed in Italy for 
airing clothes, in order to show more 
clearly the mode of use. 

6. A circular fence constructed 
round the stems of young trees to 
preserve them from being damaged 
by cattle. Columell. v. 6. 21. 

7. That portion of the interior of 
a theatre, or amphitheatre (Apul. 
Met. x. p. 227.), which contained the 
seats where the spectators sat, and 
which was formed by a number of 
concentric tiers of steps, either exca- 
vated out of the solid rock on the side 
of a hill, or supported upon stories of 
arches constructed in the shell of the 
building. According to the size of 
the edifice, these tiers of seats were 




CA VERN/E. 



CELL A. 



divided into one, two, or three distinct 
flights, separated from one another 
by a wall (balteus) of sufficient height 
to intercept communication between 
them, and then the several divisions 
were distinguished by the names of 
zvia, summa, media cavea; i. e., the 
lower, upper, or middle tier ; the 
lowest one being the post of honour, 
where the equitcs sat. (Plaut. Amph. 
Prol. 66. Cic. Am. J. Id. Senect. 14.) 
The illustration affords a view of the 
interior, or cavea, of the amphitheatre 
at Pompeii, as it now remains ; and 
shows the general plan of arrange- 
ment. See also the articles and illus- 
trations to Theatrum and Amphi- 

THEATRUM. 

CAVER'NiE (ko'iKi) or koi'Xtj vavc). 
The hold of a ship, and the cabins it 
contains. Cic. Orat. hi. 46. Lucan. 
ix. no. 

CEL'ERES. The old and original 
name by which the equestrian order 
at Rome was designated upon its first 
institution by Romulus, consisting of 
a body of 300 mounted men, selected 
from the 300 patrician or burgher 
families, and thus forming the nu- 
cleus of the Roman cavalry. Liv. i. 
15. Plin. H. N. xxxiii. 9. Festus. s. 
v. Niebuhr, Hist. Ro7)i. vol. i. p. 325. 
transl. 

CEL'ES (reXifc). A horse for 
riding, in contradistinction to a car- 




riage or draught horse ; but more 
particularly a race-horse, ridden in 
the Greek Hippodrome, or the Roman 
Circus (Plin. H. N. xxxiv. 10.), one 
of which is shown in the illustration, 
from a stucco frieze, representing 
Cupids racing, in the baths of 
Pompeii. 

2. A boat or vessel of a particular 



class, in which each rower handled a 
single oar on his own side, in contra- 




distinction to those in which each man 
worked a pair, and those in which more 
than one man laboured at the same oar. 
The larger descriptions had many 
oarsmen, and were sometimes fitted 
with a mast and sail, but had no 
deck, and in consequence of their 
fleetness were much used bv pirates. 
(Plin. II. M. vi. 57. Aul. Gell. x. 25. 
Herod, vii. 94. Thucyd. iv. 9. Schef- 
fer, Mil. Nav. p. 68') The illustra- 
tion here given is from the Column 
of Trajan, and clearly represents a 
vessel rowed in the manner described, 
and therefore belonging to this class. 

CELETIZON'TES {K*\t,TiZovT(c). 
Jockeys, who rode the race-horses in 
the Greek Hippodrome (Plin. H. A'. 
xxxiv. 19. §. 14), as shown in the 
last woodcut but one. 

CELEUS'MA {KkXevfffta). The 
chaunt or cry given out by the cock- 
swain [hortator, pausarius, iceXevo-Tjc) 
to the rowers of the Greek and 
Roman vessels, in order to aid 
them in keeping the stroke, and en- 
courage them at their work. (Mart. 
Ep. iii. 67. Rutil. i. 370.) The 
chaunt was sometimes taken up, and 
sung in chorus by the rowers, and 
sometimes played upon musical in- 
struments. Auson. in Div. Verr. 17. 

CELT A. A cellar ; employed as 
a general term, denoting a magazine 
or store-room upon the ground-floor, 
in which produce of any description 
was kept ; the different kinds of cel- 
lars being distinguished by an epithet 
indicating the nature of the articles 
contained therein ; for example, — 

I. Cella vinaria [oivtwr). A wine- 
cellar, forming one of the principal 
appurtenances to a vineyard. It was" a 
magazine in which the produce of the 



CELL A. 



141 



year's vintage was deposited in large 
earthenware vessels {dolia, serhv, 
&c), or in wooden barrels {cupce), 
after it had been removed from the 
vats of- the press room (forculariuni), 
where it was made ; and in which it 
was kept in bulk until sold or bottled; 
i.e., put into amphora, for the pur- 
pose of being removed into the apo- 
theca at the top of the house, where 
it was kept to ripen. (Varro, R. R. 
i. 13. 1. Colum. xii. 18. 3. and 4. 
Pallad. i. 18. Cic. Senect. 16.) The 
illustration, which is copied from a 




bas-relief discovered at Augsburg in 
the year 1 601, shows one of these 
magazines for wine in the wood, the 
usual manner of keeping it in the less 
genial climates (Plin. H. N. xiv. 
27.) ; and the next example, though 
not properly a wine-grower's cellar, 
will serve to convey an idea of the 
plan on which the stores were arranged 
and disposed when the wine was kept 
in vessels of earthenware, which was 
the more usual practice. 

2. A wine merchant's or tavern- 
keeper's cellar, upon the ground- ftoox, 




in which they also kept their wine in 
bulk, to be drawn off for private sale, 
or to be supplied in draught to the 
poorer customers who frequented 
their houses, and which was thence 
termed draught wine {vinum doliare), 



or, out of the wood \de cupa). (Cic. 
Pis. 27.) The illustrations represent 
a section and ground-plan of a portion 
of one of these wine-stores, which 
was discovered in the year 1789, 
under the walls of Rome. It is 
divided into three compartments : the 
first, which is approached by a few 
steps, consists of a small chamber, 
ornamented with arabesques and a 
mosaic pavement, but contained no- 
thing when excavated ; the second 
one, which leads out of it, is of the 
same size, but entirely devoid of or- 
nament, and without any pavement, 
the floor consisting of a bed of sand, 
in the centre of which a single row 
of the largest description of dolia 
was found imbedded {deffossa) two- 
thirds of their height in the soil ; the 
last of the three is a narrow gallery, 
six feet high, and eighteen long (of 
which a portion only is represented 
in the engraving, but it extends about 
four times the length of the part here 
drawn), and like the preceding one is 
covered at bottom with a deep bed 
of sand, in which a great number of 
earthenware vessels, of different foims 
and sizes, were partially imbedded, 
like the preceding ones, but ranged 
in a double row along the walls on 
both sides, so as to leave a free pas- 
sage down the middle, as shown by 
the lowest of the two engravings, 
which represents the ground-plan of 
the cellars. 

3. Cella olearia. A magazine or 
cellar attached to an olive-ground, in 
which the oil when made was kept 
in large earthenware vessels, until 
disposed of to the oil merchants. 
Cato, R. R. iii. 2. Varro, R. R. i. 11. 
2. Columell. i. 6. 9. 

4. Any one of a number of small 
rooms clustered together, such as 
were constructed for the dormitories 
of household slaves (Cic. Phil. ii. 
27.) ; for travellers' sleeping-rooms 
at inns and public-houses (Pet. Sal. 
9. 3. and 7.) ; or the vaults occupied 
by public prostitutes. (Juv. Sat. vi. 
128. Pet. Sat. viii. 4.) The illus- 



I 4 2 



CELLA. 



CELLULA. 



tration represents part of a long line 
of celltz now remaining amidst the 
ruins of a Roman villa at Mola di 




Gaeta ; the fronts were originally 
bricked in, with only an entrance- 
door in the centre to admit the occu- 
pant, and so much of light and air as 



could be supplied through such an 
aperture. 

5. In like manner, the different 
chambers which contained the neces- 
sary conveniences for hot and cold 
bathing in a set of baths, were called 
cellce ; because, in fact, they consisted 
of a number of rooms leading one 
into another, like the cells of a honey- 
combj as is very clearly shown by the 
annexed illustration, from a fresco 
painting which decorated an apart- 
ment in the Thermae of Titus at 
Rome ; thus the room containing the 
warm baths was the cella caldaria, or 




caldariuni ; the tepid chamber, cella 
tepidaiia, or tepidarium ; the one 
which held the cold bath, cella fri- 
g/daria, or frigidariUm. PI in. Ep. v. 
6, 25. and 26. Pallad. i. 40. 

6. The niches or cells in a dove- 
cot and poultry-house, which are 
clustered in a similar manner. Colu- 
mell. viii. 8. 3. Id. viii. 14. 9. 

7. (<7>j/c6c). The interior of a tem- 
ple ; i.e., the part enclosed within 




the four side-walls, but not including 
the portico and peristyle, if there is 
any. (Cic. Phil. iii. 12.) The illus- 



tration represents a ground-plan of 
the temple of Fortuna Virilis, now re- 
maining at Rome, on which the part 
within the dark lines is the cella. 

CELLA'RIUS. A slave belong- 
ing to the class of ordinarii, who had 
charge of the pantry, store-room, and 
wine-cellar {cella penaria et vinaria), 
and whose duty it was to give out 
the daily rations of meat and drink 
to the household. Plaut. Capt. iv. 
2. 116. Columell. xi. 1. 19. 

CELLA'TIO. A suite or set of 
small rooms, as in the illustration to 
Cella 4., which might be applied for 
any of the ordinary purposes of life, 
as store-rooms, sleeping-rooms for 
slaves and inferior dependants, &c. 
Pet. Sat. 7. 4. 

CELLTO. Same as Cellarius, 
Inscript. ap. Grut. 582; 10. 

CELL'ULA. Diminutive of 



CELL U LARIUS. 



CENTO. 



143 



Cella. Any small or ordinary kind 
of chamber, such as those described 
and represented in Cella 4. Ter. 
Eun. ii. 3. 18. Pet. Sat. II. i. 

2. The interior of a small shrine 
or temple, as described in Cella 7. 
Pet. Sat. 136. 9. 

CELLULA'RIUS. A monk or 
friar, so called from the small con- 
ventual cells in which the religious 
orders dwelt. Sidon. Epist. ix. 9. 

CELOX. The same as Cells 2. 
Ennius, ap. Isidor. Orig. xxx. I. 22. 
Liv. xxxvii. 27. 

CENOTAPHTUM [Ktvorcupiov). 
A cenotaph, or honorary tomb erected i 
in memory of a person whose body 
could not be found or whose ashes j 
had been deposited elsewhere (Lam- 
prid. Alex. Sev. 63.) ; hence also 
called tumulus honorarius ^Suet. 
Claud. 1.), and inanis (Virg. ALn. 
iii. 303. ), because it was erected 
merely out of compliment to the de- 
ceased, and did not contain any of 
his remains. 

CENSOR {ti/j^-i'ic). A Roman 
magistrate of high rank, whose duty 
it was to rate the property of the 
citizens by taking the ceustts ; to 
superintend their conduct and morals ; 
and to punish those who had miscon- 
ducted themselves, by degradation 
and removal from their rank, offices, 
or position in society. Thus he 
could deprive the senator of his seat 
in the house ; the knight, of the horse 
allowed him at the public expense, 
which was equivalent to breaking 
him ; or he could remove any citizen 
from his tribe into one of less influence 
or rank. (Liv. xxvii. 1 1. Suet. Aug. ■ 
37. Polyb. vi. 13. 3.) He wore no 
distinctive badge, nor particular cos- 
tume, beyond the usual ones of his 
consular rank ; and, consequently, 
when a censor is represented on coins 
or medals, he is merely draped in 
the toga, and sitting on a curule 
chair, as in the coin of Claudius in 
Spanheim, vol. ii. p. 101. 

CENTAU'RUS (Ksvravpoc). A j 
centaur :; a savage race of men who 



dwelt berween the mountains Pelion 
and Ossa in Thessaly, and were de- 
stroyed in a war with their neigh- 
bours, the Lapithae. But the poets 
and artists converted them into a 
fabulous race of monsters half man 
and half horse, whence termed bimeni- 
bres (Virg. ALn. viii. 293. Ovid. 
Met. xv. 283.) ; in which form they 
are represented waging war with 
the Lapithae in the metopes of the 
Parthenon, on the temples of Theseus 
at Athens, and of Apollo Epicurius 
near Phigaleia in Arcadia. In the 
works of Greek art they are repre- 
sented of both sexes, frequently 
playing upon some musical instru- 
ment, and the figure is alwavs re- 




markable for the consummate grace 
and skill with which the artists of 
that nation contrived to unite the 
otherwise incongruous parts of two 
such dissimilar forms. The figure 
of a female centaur, as being less 
common, is selected for the illustra- 
tion, from a very beautiful relief in 
bronze, of Greek workmanship, dis- 
covered at. Pompeii. 

CENTO {^h'Tpwi ). Generally, 
any covering or garment composed 
of different scraps of cloth sewed 
together, like patch-work, which the 
ancients employed as clothing for 
their slaves (Cato. R. A'. 59. Colu- 
iheil. i. 8. 9.), as counterpanes for 
beds (Macrob. Sat. i. 6.), or other 
common purposes ; v hence the same 
name was also given to a poem made 
up of verses or scraps collected from 
different authors, like the Cento 
Nuptialis of Ausonius. 



144 CEN TON A R II. 



CERA. 




2. Specially, a cloth of the same com- 
mon description; used as a saddle-cloth 
Under the saddle 
of a beast of bur- 
den, to prevent it 
from galling the 
back, as shown 
in the annexed 
example, from a 
painting at Her- 
culaneum. Ve- 
get. Vet. ii. 59. 2. 

CENTON A RIL Piece-brokers, and 
persons who made and sold pieces of 
patch- work, made up from old cast- 
off garments ; the dealing in which 
formed a regular trade at Rome, 
where such economical articles were 
extensively used for blankets to ex- 
tinguish conflagrations (Ulp. Dig. 
33. 7. 12.) ; to protect tents and 
military machines against an enemy's 
missiles ^Caes. B. C. ii. 9.), and other 
purposes enumerated in Cento. 

CENTUN'CULUS. Diminutive 
of Cento ; and applied in the same 
senses as there mentioned (Apul. 
Met.'x. p. 5. Liv. vii. 4. Edict. Dio- 
de t. p. 21.) ; and from a passage of 
Apuleius {Apol. p. 422. mimi centun- 
culo), the same word is also believed 
to indicate a dress of chequered pat- 
tern, like what is now called harle- 
quin's, Avhich is undoubtedly of great 
antiquity ; for in the Museum at 
Naples, there is preserved a fictile 
vase on which Bacchus is represented 
in a burlesque character, and draped 
precisely like our modern harlequin. 

CENTU'RIO {{KarorrdpxTlc). A 
centurion; an officer in the Roman 
army, of lower rank than the tri- 
bunes, by whom he was appointed. 
His post on the field of battle was 
immediately in front of the eagle 
(Veget. Mil. ii. 8.) ; and the distin- 
guishing badge of his rank was a rod 
(vitis), with which he used to correct 
his men when refractory or negligent 
of their duties. (Plin. II. N. xiv. 
3.) The illustrations present the 
figures of two centurions, the one on 
the left hand of the reader, from a 



sepulchral bas-relief, with the in- 
scription QUINTTJS PUBLIUS FESTUS. 





Centlr. Leg. XL; he has his rod 
in the right hand, is likewise deco- 
rated with phalerce, and wears greaves 
(ocrece), as the Roman soldiers did in 
early times ; the other shows a cen- 
turion of the age of Trajan, from a 
bas-relief formerly belonging to the 
triumphal arch of that emperor, but 
now inserted in the arch of Constan- 
tine ; he has his helmet on, the rod 
in his right hand, and in the original 
composition the bearer of the eagle 
{aquilifer) stands by his side. 

CEPOTAPHTUM (K^ora^iov). 
A tomb in a garden ; or a garden to 
which a degree of religious vene- 
ration became attached, in conse- 
quence of its having a sepulchre 
erected within it. Inscript. ap. Fa- 
bretti, p. 80. n. 9. Id. p. 115. n. 293. 
Compare D. Joann. Evang. xix. 41. 

CE'RA. Wax ; and thence used 
to designate things made 
as the waxen masks or 
likenesses of a man's an- 
cestors which the Roman 
families of distinction pre- 
served in cases placed 
round the atrium (Ovid. 
Fast. i. 591. Juv. viii. 
19 ), as shown by the example, from 
a sepulchral bas-relief, which repre- 
sents a wife bewailing the death of 
her husband, whose likeness is placed 
in a small case against the wall of -the 
apartment where the scene is laid. 

2. A set of tablets for writing on 
with the style (stylus), made of thin 




CERAULA. 



CERCURUS. I45 



slabs or leaves of wood, coated with 
wax, and having a raised margin all 
round to preserve the contents from 
friction. They were made of different 
sizes, and varied in the number of 
their leaves, whence the word in this 
sense is applied in the plural (Quint, 
x. 3. 31. and 32. Juv. i. 63.) ; and the 
tablets themselves are distinguished 
by the number of leaves they con- 
tained ; as cercB duplices, a tablet with 
two slabs only, like the bottom figure 
on the left hand of the engraving ; 




certe triplices (Mart. Ep. xiv. 6.), a 
tablet containing three leaves, one 
between the two outsides, like the 
top figure in the engraving ; cerce 
quintuplices (Mart. Ep. xiv. 4.), one 
with five leaves, or three centre ones 
and two outsides, like the right-hand 
figure at the bottom of the woodcut, 
all of which examples are copied 
from paintings at Pompeii. When 
the singular number is used, as prima, 
secunda, extrema cera (Hor. Sat. ii. 
5. 53. Cic. Verr. ii. 1. 36. Suet. Jul. 
83.), it indicates the first, second, or 
last page of the tablets. 

CERAU'LA (/cfpa«'A>jt). Pro- 
perly a Greek word Latinised, and 
corresponding with the Roman Cor- 
nicen. Apul. Met. p. 171. Ceraula 
doctissimus, qui comu canens adam- 
bulabat. 

CER'BERUS (Ktpfitpoc). The 
dog which kept watch at the entrance 
to the nether world ; a monster fabled 
to have sprung from Typhaon and 
Echidna, and to have been dragged 
Upon earth by Hercules as the last 



and most difficult of his twelve 
labours. In reality Cerberus was a 
dog belonging to the king of the 
Molossians, whose country produced 
the finest breed of dogs known to the 
ancients, and which are believed to 
be represented by the marble sta- 
tues now preserved in the Vatican, 
exhibiting two dogs of very power- 
ful frames, with long hair upon the 
neck and shoulders like the mane of a 
lion. The poets metamorphosed these 
hairs into snakes (Hor. Od. ii. 85.), 
and, to increase the horror, some 
gave the animal a hundred heads 
(Hor. Od. ii. 34.), others fifty (He- 
siod. llieogn. 312., though in verse 
771. he has but one), and others 
limited the number to three (Soph. 
Trachin. 1109.), the centre one being 
that of a lion, with the head of a 
wolf on one side, and of an ordinary 
dog on the other (Macrob. Sat. i. 
20.). This is the usual type under 

I which he is mostly portrayed by 
the painters and sculptors of antiquity 
(Mus. Pio-Clem. torn. ii. tav. I. 

I Bartoli, Lucerne, part 2. tav. 7. Cod. 

; Vat. &c.) ; though examples are not 
wanting in which the fabulous is 
made subordinate to the real char- 
acter of the monster, as in a group of 
Hercules and Cerberus in the Vatican 
(Mus. Pio-Clem. ii. 8.), where the 
leonine head and mane of the Mo- 
lossian dog is strongly marked, and 

j made to predominate entirely over 
the other two, which are executed 
upon a much smaller scale, and, as it 
were, rather indicated than developed. 

CERCU'RUS (icspKovpog or hfp- 
KovpQg). An open vessel, invented 
by the Cyprians, propelled by oars, 
fast in its movements, and used 
for the transport of merchandise, 
as well as in warfare. (Liv. xxxiii. 
19. Lucil. Sat. viii. 3. ed. Gerlach. 
Plaut. Merc. i. 1. 86. PI in. H. N.wn. 
57. Herod, vii. 97.) Its character- 
istic properties are nowhere de- 
scribed ; but Scheffer {Mil. Nav. ii. 
2. p. 75.) is of opinion that the 
oarage, instead of running the whole 
K 



146 



CERDO. 



CEROMA. 



length of the vessel, only ranged 
from the prow to about midship, so 




that the after part would serve as a 
hold for the freight in the manner 
represented by the annexed illustra- 
tion, copied by Panvinus (de Lud. 
Circens. ii. II.) from a bronze medal, 
which, if that notion be correct, will 
afford a model of the vessel in ques- 
tion. 

CERDO. A workman of inferior 
description, or who belonged to the 
lowest class of operatives (Juv. iv. 
153. Pers. iv. 51.) ■ the particular 
trade which he practised is likewise 
designated by the addition of another 
substantive, as sulor cerdo (Mart. Ep. 
iii. 59.), a cobbler ; cerdo faber (In- 
script. ap. Spon. Miscell. Erudit. 
Antiq. p. 221.), a journeyman smith ; 
and so on for other trades. 

CE'REUS. A wax candle, made 
with the pith of a rush coated with 
wax ; also a torch made of the fibres 
of papyrus twisted together, and 
covered with wax. Cic. Off. iii. 20. 
Plaut. Cure i. 1. 9. Val. Max. iii. 6. 
4. and Candela. 

CERIOLA'RE. A stand or holder 
for wax candles and torches, similar 
to the example engraved at p. 107. 
(s. Candelabrum, j.) ; but utensils 
of this description were also made in 
a variety of fanciful forms and pat- 
terns according to the taste of the 
artist who designed them, for one is 
mentioned in an inscription (ap. Graf. 
175. 4.) of bronze, with the figure 
of Cupid holding a calathus. Com- 
pare Inscript. ap. Maffei. Mus. Veron. 
p. 83. 

CER'NUUS (^piarrjrlip): Lite- 
rally, with the face turned down to- 




wards the ground; hence ^tumbler, or 
one who entertains the public by feats 
of jumping, throwing 
summersets in the 
air, falling head over 
heels, walking with 
his face downwards, 
and other similar ex- 
hibitions, such as we 
still see practised in 
our streets and fairs. 
(Lucil. Sat. iii. 20. 
Serv. ad Virg. 
x. 894.) The illus- 
tration represents one 
of these tumblers, 
from the collection in the Collegio 
Romano. (Caylus, iii. 74.) 

2. Amongst the Greeks feats of 
this nature were frequently exhibited 
by females, who were introduced 
with the dancing and singing girls, 
to amuse the guests at an entertain- 
ment, and whose skill and suppleness 
of body were really extraordinary. 
One of their favourite exhibitions 
consisted in making a summerset 
backwards, between a number of 
swords or knives stuck in the ground, 
at small intervals from one another, 
with their points upwards, as repre- 
sented in the following illustration, 




from a Greek fictile vase : to perform 
this feat was termed tic $i<j>r] or tig /ta- 
Xalpac KvfiinTCLv. Plat. Symp. p. 190. 
A. Xen. Symp. ii. ii. 

CERO'MA (ici)pw/ia). Properly, 
an unguent, made of oil and wax 
compounded together, with which the 
bodies of wrestlers were anointed 
previously to being rubbed over with 



CER UCHI. 



CER YX. 



147 



fine sand (Mart. Ep. vji. 32. ) ; whence 
the same term is also used to desig- 
nate the chamber in which this opera- 
tion was performed. Plin. H. AK 
xxxv. 2. Senec. Brev. Vit. 12. 

CERU'CHI ( K tpor X oi). The 
ropes which run from each arm of 
the sail-yard to the top of the mast, 
corresponding with what are now 
called in nautical language <; the 
lifts.'''' (Lucan. viii. 177. Id. x. 494.) 




Their object was to keep the yard in 
a level and horizontal position upon 
the mast, which it could not preserve 
without a support of this nature ; and 
the largest class of vessels, which had 
a yard of great length and weight, 
were furnished with a double pair of 
lifts, as in the example, from the 
Vatican Virgil ; while the smaller and 
ordinary sizes had only one. 

CERVI. In military language, 
large branches of trees, having the 
smaller ones left on, and shortened 
at a certain distance from the stock, 
so as to present the appearance of a 
stag's horn. (Varro, L. L. v. 1 1 7.) 
They were stuck in the ground, to 
impede the advance of an enemy's 
column, a charge of cavalry over a 
plain, which afforded no natural ob- 
structions (Sil. Ital. x. 412. Liv. 
xliv. Ii.), and as a palisade or pro- 
tection to any vulnerable or important 
position. Cses. B. G. vii. 72. 

CERVI'C AL (7rporrKt(l>a\aioT, VTrav- 
\svior). A bolster, cushion, or squab 
for supporting the back of the head 
and neck on a bed or dining couch. 



(Suet. A r ero, 6. Mart, xiv 




The 



illustration is from a painting at 
Pompeii. 

CERVPSIA or CEREVl'SIA* 
A beverage extracted from barley, 
like our beer or ale ; which was the 
ordinary drink of the Gauls. (Plin. 
H. A 7 , xxii. 82.) The same name, 
according to Servius {ad Virg. 
Georg. iii. 379.), was also given to 
a beverage extracted from the fruit 
of the service tree, which would cor- 
respond more closely with our cider. 

CERYCE'UM (njpwjccioi/). A 
Greek word Latinised ; same as Ca- 
duceus. Martian. C.a.peli. 4. p. 95. 

CE'RYX {icriovZ). A Greek word, 
used in a Latin form by Seneca 
{Tranquill. 3.) ; a Greek herald, mar* 
shaly or pursuivant, who occupied a 
similar position amongst that people, 
and performed the same sort of 
duties as the Fetialis and Legati of 
the Romans. His distinctive badge 
was a wand {ktjpvkuoi', caduceus) $ his 




person was held sacred and invio- 
lable ; and his most honourable em- 
ployment consisted in carrying flags 



I48 CERYX. 

of truce between conflicting armies, 
and messages between hostile states, 
a duty which the figure in the illus- 
tration, from a fictile vase, is repre- 
sented as in the act of commencing. 
He is armed with sword and spear ; 
has the herald's wand in his right 
hand ; and stands before a burning 
altar, upon which he has just sacri- 
ficed, preparatory to starting on his 
journey; the sentiment of departure 
being indicated, according to the cus- 
tomary practice of the Greek artists, 
by certain conventional signs, such 
as the travelling boots, the pallium 
thrown loosely over the arm, and the 
hat slung behind his back. Besides 
this, in his character of marshal and 
pursuivant, the Ceryx possessed the 
power of interposing between and 
separating combatants, as seen in the 
annexed example, also from a fictile 




vase ; was authoi-ised to summon the 
assemblies of the people, and keep 
order in them, and to superintend the 
arrangements at a sacrifice, as well 
as at public and private festivals. 

2. A public crier ; more closely 
allied to the Roman pnvco ; whose 
business it was to make proclama- 
tions in the public assemblies (Ari- 
stoph. Ach. 42. seq.), and to enjoin 
silence by sound of trumpet at the 
national games, whilst the solemn 
eulogium (K-qovyfia) was pronounced 
upon the victor (Fabri. Agon. ii. 3. 
Mosebach de Prcecon. Vet. § 32-34.), 
as shown by the following figure, 
from a Greek marble in the Vatican, 
in which the Ceryx is represented as 



cms r us. 

just beginning to sound his trumpet 
by the side of the conqueror, who is 
in the act of placing on his own head 




the crown which he has just received 
from the president (<fywj/o0ir^c), 
whilst on the other side of the com- 
position a pair of Pancratiastae are 
contending. 

CESTICIL'LUS. A porter's knot, 
for carrying burdens on the head. 
Festus. s. v. Compare Arculus. 

CESTROSPHEN'DONE {^arpo- 
(T(f>(vd6i>Tj). A weapon of warfare, 
first employed by the soldiers of Per- 
seus in the Macedonian war, con- 
sisting in a short dart, the head of 
which w r as two spans broad, affixed to 
a wooden stock, of the thickness of 
a man's finger, and half a cubit in 
length, and furnished with three 
short wooden wings, similar to the 
feathers of an arrow : it was dis- 
charged from a sling. Liv. xlii. 65. 
Polyb. xxvii. 9. 

CESTRUM {Kiarpov). A sort of 
graver or etching needle employed in 
the process of encaustic painting 
on ivory. It is supposed that the 
instrument was heated by fire, and 
that the traits to be delineated were 
burnt into the tablet with its point, 
and then filled in with liquid wax ; 
but the whole subject of encaustic 
painting, and the manner in which 
the operations were conducted, is 
very obscure and uncertain. Plin. 
H. N. xxxv. 41. 

CESTUS (KffTroc, sc. J/itfrc). In a 
general sense, any band or tie (Varro, 
R. R. i. 8. 6.) ; but the word is pro- 



CETAE F^E. 



CHA L CID1C UM. 1 4 9 



perly a Greek adjective, meaning 
embroidered, whence it is more fre- 
quently used in a special sense to 
designate the at*** 
girdle of Venus, "^tMP^ 



upon which a re- 
presentation of 
the passions, de- 
sires, joys, and 
pains of love 
was embroider- 
ed. (Horn. II. 
xiv. 214. Mart. 
Ep.- vi. 13. Id. 
xiv. 206. and 
207.) The il- 
lustration intro- 




duced is from a bas-relief of the 
Museo Chiaramonti, representing a 
figure of Venus draped in the archaic 
style ; consequently, from some very 
early type, which makes it trust- 
worthy. It will be perceived, that 
the cestus on this figure is worn lower 
down than the ordinary female's gir- 
dle {cingulum, I.), and higher up than 
the young women's zone {zona, or 
cingulum, 2.), which may account for 
the uncertainty prevailing amongst 
scholars respecting the proper place 
which the cestus occupied on the per- 
son, and for the. apparent indecision 
of the passages, which have led 
some to place it over the loins (as 
Winkelmann), and others immediately 
under the bosom (as Heyne and 
Visconti) ; whereas, in the example, 
it is really placed in an intermediate 
position between the two. 

2. The glove worn by boxers, 
more commonly written Caestus, 
which see. 

C ET A'RI/E or CETA'RIA. 
Shallow places or fishing grounds 
upon a coast frequented by large 
fish at certain periods of the year, 
when they are taken by the fisher- 
men ; such as the places* in the 
Mediterranean, where the tunny fish 
is now caught. Hor. Sat. ii. 5. 44. 
Plin. H. N. ix. 19. 

CETA'RII. A class of fishermen, 
who took the larger kinds of fish, 



such as tunnies, upon the cctatice 
(Varro, ap. Non. s. v. p. 49.), salted 
them down, and sold them in shops 
belonging to themselves. Columell. 
viii. 17. 12. Terent. Eun. ii. 2. 26. 

CETRA. A small round shield 
(Varro, ap. Non. s. v. p. 555. and 
p. 82.), covered over with hide (Serv. 
ad Virg. At.n. vii. 732.) ; chiefly 
employed by the natives of Africa, 
Spain, and ancient Britain (Tac. 
Agr. 36.), the form and character of 
which is believed to be preserved in 
the target of the Scottish Highlanders. 

CETRA'TUS. One who bears 
the small round target, called cetra, 
which was characteristic of some 
barbarous nations, but not of the 
Romans. Cecs. B. C. i. 70. 

CHALATO'RIUS, sc. funis (IttI- 
tovoc, sc. i/nai). The rope by which 
a sail-yard is raised and lowered 
on the mast, corresponding with the 
halyard of modern nautical language. 
It was fastened on the middle of the 
yard, and run up through a block 
affixed to the mast, from which the 
end descended to the deck, where 
it was worked by the sailors. (Veget. 
Mil. iv. 15.) It is probably derived 
from xoAfiw, to slacken, loosen, or let 
down ; and allied to the xaKivoq, or 
bridle of the Greek sailors. 

CHALCIDTCUM (XrrWiKoi>). 
A large, low, and deep porch, covered 
with its own roof, supported on pilas- 
ters, and appended to the entrance 
front of a building, where it protects 
the principal doorway, and forms a 
grand entrance to the whole edifice 
(Becchi, dd Calcidico e delta Cripta 
di Eumachia, § 21-43.), m the man- 
ner represented by the following en- 
graving, which represents a structure 
of similar character, now remaining 
in front of the very ancient church of 
S. Giorgio in Velabro at Rome, be- 
lieved to occupy the site of the 
original Basilica Semproniana in the 
Forum Boarium. Structures of this 
kind received their name from the 
city of Chalcis (Festus, s. v.), where, 
it may be presumed, they were first 



*5° 



CHALCIDICUM. 



CHARACTER. 



introduced, or of the most frequent 
occurrence ; and they were added on 
to private as well as public edifices, 




adjoining, which encloses a court- 
yard or area (c) in the centre ; the 
whole being covered by a grand en- 



not merely as an ornament to the 
facade, but for the purpose of afford- 
ing shelter to persons whilst waiting 
on the outside for their turn to be 
admitted, or who transacted their 
business under them ; to the palaces 
of kings and great personages (Hygin. 
Fab. 184. Auson. Perioch. Odyss. 23. 
Procop. de sEdific. Justin. i„ 10.) ; to 
the basilicas, courts of justice, and 
merchants 1 changes (Vitruv. v. 1.), 
where they would serve to contain 
the articles of merchandise, the sale 
of which was negotiated in the in- 
terior; to the curia, the town-hall, 
and senate-house (Dion Cass. li. 22. 
August. Man. Ancyran. ap. Grut. 
p. 232. 4.), perhaps for the reception 
of the slaves awaiting their masters, 
and of the people naturally congre- 
gating about such places fur curiosity 
or business. The external character 
and appearance of these appendages 
is sufficiently indicated by the pre- 
ceding woodcut ; and their general 
plan, with reference to the rest of 
the edifice, by the next one, which 
represents the ground-plan of an 
extensive building at Pompeii, con- 
structed by the priestess Eumachia, 
consisting of an enclosed gallery 
(crypto, a), an open one (porticus, B) 




trance, fronting the forum, with the 
name Chalcidicum inscribed upon 
a slab of marble affixed to the wall. 

CHAMUL'CHUS (xo^ovXkoc). A 
sort of dray employed in the trans- 
port of very weighty substances, such 
as large blocks of marble, columns, 
obelisks, &c, which lay low upon 
the ground (whence the name, from 
■Xafia], the ground, and s'Akw, to 
draw), and probably resembled those 
now used for similar purposes. Am- 
mian. xvii. 4. 14. 

CHARACTER ( X apaKr^p). In 
general, any sign, note, or mark, 
stamped, engraved, or otherwise im- 
pressed upon any substance, like the 
device upon coins, seals, &c. ; and in a 
more special sense, the brand or mark 
burnt into the flanks of oxen, sheep, 
or horses, in order to distinguish 
the breed, certify the ownership, or 
for other purposes of a similar nature,- 



CHAR IS 77 A. 



CHEL0N7UM. I 5 I 



as in the example, which shows the 
brand upon a race-horse, from a small 





■j 












w 




II 





1 



antique bronze. Columell. xi. 2. 14. 

2. The iron instrument with which 
such marks were made. Isidor, Orig. 
xx. 7. 

CHARIS'TIA (Xanicrrui or Xapt- 
rrjvia). The feast of the Charities ; 
a family banquet, to which none but 
relatives or members of the same 
family were invited, and the object of 
which was to reconcile any differ- 
ences which might have arisen 
amongst them, and to preserve the 
kindred united and friendly with one 
another. (Val. Max. ii. 1. 8. Ov. 
Fast, ii. 617.) It was celebrated on 
the 19th of February (viii. Cal. 
Mart.), which was thence termed the 
" kinsmen's day " — hex propinquo- 
rum. Mart. Ep. ix. 56. 

CHARIS'TION (xapiariajv). An 
instrument for weighing ; but of 
what precise character, or in what it 
differed from the balance [libra) and 
steelyard (statera) is not ascertained. 
Inscript. ap. Don. cl. 2. n. 67. Not. 
Tires, p. 164. 

CHART A (Y«pr7/t). Writing- 
paper, made from layers of the papy- 
rus, of which eight different quali- 
ties are enumerated by Pliny [H. N. 
xiii. 23.) : — -I. Angustana, subse- 
quently called Claadiana, the best 
quality ; 2. Liviana, the next best ; 
3. Hieratica, originally the best, and 
the same as charta regia of Catullus 
(xix. 16.); 4, 5, 6. Amphitheatrica, 
Saitica, Leneotica, inferior kinds, 
named after the places where they 
were respectively manufactured ; 
7. Fanniana, made at Rome, and 
named from its maker Fannius ; 



8. Emporetica, coarse paper, not used 
for writing, but only for packing 
merchandise, whence its name. To 
these may be added, 9. charta den- 
tata, the surface of which was 
smoothed and polished by rubbing 
over with the tooth of some animal, 
to procure a glossy face for the pen 
to glide over, like our " hot-pressed " 
paper (Cic. Q. Fr. ii. 15. Plin. H. N. 
xiii. 25.) ; and 10. charta bibula, a 
transparent, and spongy sort of paper, 
which let the ink run, and showed 
the letters through. Plin. Epist. 
viii. 15. 2. Compare Plin. //. A r . 
xiii. 24. 

C PI E' L E Properly, a 

Greek word, which signifies a cloven 
foot ; a pair of crooked and serrated 
claws, like those of a crab ; the talons 
of a bird ; or the claws of a wild 
beast ; whence in that language, it is 
employed to designate several dif- 
ferent instruments, possessing in 
their forms or manner of usage a 
resemblance to any one of these 
natural objects : as a netting needle ; 
a breakwater to protect the mouth of 
a harbour, when made in the form 
of a claw set open (see the plan of 
the port at Ostia, s. Portus, letter 
K.) ; a pair of pincers or pliers, with 
bent arms like claws, &c. By the 
Romans, for a similar reason, the 
same name is given to a particular 
part of some military engines, such 
as the ballista and Scorpio, which was 
a sort of claw, or nipper, made to 
open and seize upon the trigger or 
chord of the machine, whilst it was 
being drawn back to produce the re- 
bound which discharged the missile. 
Vitruv. x. II. 7. Id. x. 10. 4. 

CHELO'NIUM (xtXwnov). A 
bracket or collar affixed to the up- 
rights of a certain machine for moving 
heavy weights {mackina tractorid) at 
their lowest extremities, into which 
the pivot (cardo) of a revolving axle 
and wheel {sucu/a) was inserted ; like 
that in which the axle of a plaustrum 
turned. Vitruv. x. 2. 2. 

2. A collar of similar description, 



CHEL VS. 



CHIRAMAXIUM. 



fastened to the top of an upright 
beam in another kind of contrivance 
for raising weights (polyspaston), to 
which the block and pullies {trochlea;) 
were affixed. Vitruv. x. 2. 8. 

3. A particular member in a cata- 
pulta ; called also pulvinus. Vitruv. 
x. 10. 5. 

CHELYS (x&ve, xeXwvq). Pro- 
perly, a Greek word, adopted into 
the Roman language by poets ; but 
the genuine Latin word is Testudo, 
under which its meanings are illus- 
trated and explained. 

CHENIS'CUS (x»7'W<h-). An 
ornament resembling the head and 
neck of a goose (x^), sometimes 
placed on the stern of a vessel (Apul. 
Met. xi. p. 250.), but more fre- 
quently in ancient monuments, at the 
head. The illustration reoresents 




three of these figures ; the centre 
one in detail, from an ancient bas- 
relief, of which there is a cast in the 
British Museum ; the one on the left 
hand, over the stern, from Trajan's 
Column ; and that on the right, over 
the prow, from the Vatican Virgil. 

CHENOBOSCI'ON ( W o/3o~ 
(tkhov). An enclosure, with its appur- 
tenances, attached to a country-house 
or farm, appropriated to the breeding 
and keeping of geese, large flocks of 
which were maintained on some es- 
tates. (Varro, R. R. xii. 10. 1.) It 
consisted of a spacious yard on the 
outside of the farm-house and build- 
ings (Columell. viii. I. 4.), sur- 
rounded by a wall nine feet high, 
which formed the back of an open 
gallery or colonnade (portuus), under 
which the pens {harcr) for the birds 
were situated. These were built of ( 



masonry or brickwork, each being 
three feet square, and closed in front 
by a door. The site selected, where 
possible, was contiguous to a stream 
or pool of water ; if not, an artificial 
tank was made for the purpose ; and 
near to, or adjoining, a field of meadow 
grass, or one sown with artificial 
grasses, where the soil required it, 
Columell. viii. 14. 1-2. 

CHILIAR'CHUS or CHILIAR'- 
CHOS (xi/Wpx'K or X'^PYOi'). The 
commander of a thousand men ; a 
word more especially employed by 
the Greeks to designate the Persian 
vizir (Xen. Cyrop. ii. 1. 23. Nepos, 
Con. 3.) ; and applied by the Romans 
to an officer who commanded the ma- 
rines, or soldiers who manned a fleet. 
Tac. Ann. xv. 51. 

CHIMERA {Xinmpa). Literally, 
a she-goat, which the poets and artists 
of Greece converted into a monster, 
spouting fire, composed of three dif- 
ferent animals — the head of a lion, 
the body of a wild goat, ending in a 
dragon's tail ; fabled to have been 
killed by Bellerophon. Hor. Ovid. 
Tibull. Horn. &c. 

CHIRAMAX'IUM { X tipandfrov). 
An invalid' 's chair upon wheels, which 
could be drawn 
or pushed for- 
ward by the 
hands of a 
slave, in the 
same manner 
as now prac- 
tised. (Pet. 
Sat. 28. 4. ) 
The illustra- 
tion represents 
a marble chair now in the British 
Museum, which 01-iginally belonged 
to the baths of Antoninus at Rome, 
where it was doubtless employed as a 
sella balnearis or pertusa ; but the 
two small wheels carved as orna- 
ments on the sides, and in imitation 
of the movable chair of wood, in 
which invalids were wheeled to and 
from the baths, establish at once the 
meaning of the word, and the harmony 




CHIRIDOTA. 



CHJKONOMIA. 



153 



between ancient customs and our 
own in this particular. 

CHIRIDOTA (xnpidioTog, sc. 
XiTi6t>). Properly a Greek word, and 
an adjective, but sometimes used sub- 
stantively by the Romans (Capito- 
lin. Pertinax, 8.) ; and applied to a 
tunic with long sleeves reaching down 
to the hand (x««p), more especially 
characteristic of the Asiatic and Celtic 
races, as seen in the annexed figure, 
from the Niobe 
group, repre- 
senting the tu- 
tor (pczdagogus) 
of the younger 
children, a cla^s 
of men usual- 
ly selected for 
that duty from 
the inhabitants 
of Asia Minor. 
Amongst the 
male population 
of Greece, and 
of Rome in the 
earlier times, 
sleeved tunics were not worn, ex- 
cepting by people who affected foreign 
habits, or of luxurious and effeminate 
characters ; hence when mention is 
made of persons so dressed, there is 
always an implied sense of reproach 
concealed under it. (Scipio Afr. ap. 
Gell. vii. 12. 2. Cic. Cat. ii. 10. 
Suet. Cal. 52.) But in both countries 
they were per- 
mitted to fe- 
males, as shown 
by numerous 
monuments both 
of Greek and 
Roman artists, 
and in the an- 
nexed example, 
from a paint- 
ing at Pompeii ; 
whence the sar- 
casm of Virgil 
{ALn. ix. 616.), where the Trojans 
are called women, and not men, 
because their tunics had long sleeves. 

CHI RON OM' I A (xupovopla). 




The art of gesticulating or talking 
with the hands and by gestures, with 
or without the assistance of the voice. 
(Quint, i. 11. 17.) This art was of 
very great antiquity, and much prac- 
tised by the Greeks and Romans, both 
on the stage and in the tribune, in- 
I duced by their habit of addressing 
I large assemblies in the open air, 
j where it would have been impossible 
for the majority to comprehend what 
! was said without the assistance of 
j some conventional signs, which en- 
J abled the speaker to address him- 
i self to the eye as well as the ear of 
his audience. These were chiefly 
' made by certain positions of the 
hands and fingers, the meaning of 
i which was universally recognised 
! and familiar to all classes, the practice 
j itself being reduced to a regular 
system, as is the case at the present 
1 time amongst the populace of Naples, 
who will cany on a long conversation 
between themselves by mere gesti- 
culation, and without pronouncing a 
word. It is difficult to illustrate such 
a matter in a work like this ; but the 
act is frequently represented on the 
Greek vases, and other works of 
I ancient art, by signs so clearly ex- 
pressed, and so similar in their char- 
acter to those still employed at 
Naples, that an unlettered lazzarone, 
when shown one of these compo- 
sitions, will at once explain the pur- 




port of the action, which a scholar 
with all his learning cannot divine. 
(Iorio, Mimica degli Antic/ii, p. 369.) 
In the illustration, for instance, which 



154 CHIRONOMOS. 



CIILAMYDA TUS. 



is copied from a Greek fictile vase, it 
is self-evident that the two females 
are engaged in a woman's quarrel ; 
the one on the left by her forward 
attitude and index finger pointedly 
directed towards the other, making 
some angry accusation against her ; 
whilst the backward movement of the 
body exhibited by the figure on the 
right, the sudden cessation of her 
music, and the arms thrown open 
and upwards present a very natural 
expression of surprise, either feigned 
or real, on her part. Thus much 
would be readily divined by any one. 
But the subject of the quarrel? That 
is told by the positions of the hands 
and fingers. It is a love quarrel, 
arising from jealousy; for the exact 
gesture employed by a modern Nea- 
politan to signify love ; viz., joining 
together the tips of the fore-finger 
and thumb of the left hand, is ex- 
hibited by the figure on the left side 
of the picture; whilst the other woman 
not only expresses surprise by her 
attitude, but with her right hand 
raised up towards the shoulder, and 
all its fingers wide open and erect, 
denies the insinuation and declares 
her indignation at the accusation ; 
for such is the gesture which a Nea- 
politan employs to signify a nega- 
tive, more especially when what is 
said excites his astonishment and 
displeasure. Thus these few gestures 
represent a long dialogue. The 
cause of quarrel is, without doubt, 
the sitting Faun, who, while affecting 
to play away so resolutely between 
the angry damsels, has been detected 
in making signs incautiously to the 
nymph with the tambourine, and 
which were perceived by his old flame 
who stands behind him. 

CHIRONOMOS and CHIRON- 
OMON (xeipoi'Ofioc). Generally, any 
person who employs the art of ges- 
ticulation to express his meaning 
without the aid of language, as ex- 
plained in the preceding article ; 
thence also, a pantomimic actor on 
the stage (Juv. Sat. vi. 63.) ; and 



one who performs any duty with re 
gular, studied, or theatrical move- 
ments ; whence the same term is 
applied by the satirists to the slave 
who carved up the dishes at great 
entertainments with a pompous flou- 
rish of his knife. Juv. Sat. v. 121. 
Compare Pet. Sat. 36. 6. 

CHIRUR'GUS ixnpovpyoQ). A 
surgeon, who performs operations, as 
distinguished from a medical prac- 
titioner. The Roman doctor (me- 
dicus) of early times exercised both 
departments of the healing art ; but, 
about the time of Tiberius, surgery 
began to be practised as a distinct 
profession. Cels. Pro:/, vii. Becker, 
Gallns, p. 224. transl. 

CHLAM'YDA. Same as Chla- 
mys. Apul. Met. xi. p. 256. Id. 
Mor. ii. 15. 2. 

CHLAMYDA'TUS ( x Xaj^roc). 
Clad in the chlamys, or Grecian man- 
tle ; which, from the nature of the 
garment, might be put on in a variety 
of ways, presenting very different 
characters, but all studiously arranged 
with the view of appearing graceful 
and becoming. (Ovid. Met. ii. 733. ) 
The most simple and usual were the 
following : — 

1. The narrowest part of the man- 
tle (see the right-hand figure s. 
Chlamys) was passed round the 
back of the neck, and 
the two corners brought 
together in front of the 
throat, where they were 
joined by a buckle, 
clasp, or brooch, so that 
the goars might be turned 
back over the shoulders 
{demissa ex humeris. 
Virg. ALn. 263.), and 
the middle or longest 
part would hang down 
behind as far as the 
knees, as shown by the 
annexed figure, from the Panathenaic 
frieze in the British Museum. 

2. Or, a portion of the narrow part 
of the left-hand figure s. Chlamys, 
was folded down, in order to make a 




CHLAM VS. 



CHORA GI UM. 155 



longer line, and then fastened side- 
ways over the right shoulder by a 



cedonia, whence it was imported into 
other parts of Greece, and became 




brooch. &c, so that the mantle com- 
pletely enveloped the left arm, leav- 
ing the right one. as well as the 
whole side, uncovered, whilst the 
four corners hung down on the same 
side parallel to one another, two in 
front and two behind, as shown by the 
annexed figure, from a Greek vase. 

3. Or, one side of it was carried 
across the chest, and thrown over the 




left shoulder, so as closely to en- 
velope the upper part of the person, 
as low as the wrists (Apul. Flor. ii. 
15. 2.) ; an arrangement more espe- 
cially adopted on horseback, as shown 
by the annexed example, from the 
Panathenaic frieze in the British 
Museum. 

CHLAM'YS (x\afivs). A light 
and short mantle, originating with 
the inhabitants of Thessalv or of Ma- 




the regular equestrian costume of the 
Athenian youths, from the period 
of their becoming e©7?,3oy until the age 
of manhood. ^Plutarch. Alex. 26. 
Pollux, x. 124. Apul. Met. x. p. 233.) 
It consisted of an oblong square piece 
of cloth, to each side of which a goar 
(TTrspvl) was attached, sometimes in 
the form of a right-angled, and at 
others of an obtuse-angled triangle, 
so that the whole, when spread out, 
would form a mantle of similar shape 
and dimensions to the diagrams intro- 
duced above. The different M ays in 
which it was adjusted and worn are 
described and illustrated in the pre- 
ceding article. 

2. Properly speaking, the chlamys 
belongs to the national costume of 
the Greeks, but not of the Romans, 
though it was occasionally adopted, 
even at an early period, by some of 
the last-mentioned people, as bv L. 
Scipio and Sylla (Cic. Rabir. Post. 
10. Val. Max. iii. 2. and 3. 1 ) ; but 
these are both mentioned as singular 
instances. In some cases, too, it is 
ascribed to women — to Dido by Vir- 
gil (ALn. iv. 137.), and to Agrippina 
by Tacitus [Ann. xii. 56.). 

CHORA'GIUM (x°ph l °-> ;) - The 
furniture, scenery, dresses, &c, be- 
longing to a theatre, which are ne- 
cessary in presenting a play upon the 
stage, or, as. our actors call it, " the 
property. " Festus, s. v. Plant. Capt. 
Prol. 60. 

2. A large apartment behind the 
stage, where the "property" was 
kept ; or, perhaps, where the actors, 

I and in a Greek theatre the chorus, 
dressed or rehearsed. (Vitrnv. v. 9. v. 

I Demosth. de falsa Legat p. 403. 22. 

I Reiske). It formed one of the appur- 



6 CHORAGUS. CHORS. 



tenances constructed in the spacious 
porticoes at the back of a theatre (Vi- 
truv. /. c. ), as may be seen on the plan 
of Pompey's theatre, introduced as an 
illustration under THEATRUM. 

3. A sort of spring in hydraulic 
machines. Vitruv. x. 8. I. 

CHORA'GUS. The person who 
provided the scenery, ornaments, 
dresses, &c, necessary for presenting ■ 
a play upon the Roman stage ; which j 
he sometimes furnished at his own 
expense, but more usually from 
moneys levied on the community, j 
and paid over to him by the aediles. 
Plaut. Pers. i. 3. 78. 

2. (xoprjyus). Amongst the 
Greeks, the choragus was the person 
who defrayed the costs for bringing 
out a Chorus ; and the leader of the 
Chorus was sometimes designated by 
the same name. 

CHORAU'LES and CHO- 
RAU'LA (xopavXr}^). A musician 1 
who accompanied the Chorus of the 
Greek theatre, or any other number 
of singers in a concert generally, I 
upon the double pipes ; as contradis- 




tinguished from aulcedus, who played 
an instrumental solo without vocal 
music. (Suet. Galb. 12. Plin. H. N. 
xxxvii. 3. Mart. Ep. ix. 78.) The 
costume and instrument of these per- 
formers are shown by the figure an- 
nexed, from a drawing by Fulvius 
Ursinus, in the Vatican Library, 
copied from a statue discovered on 
the Appian Way, with the name 
Choraules inscribed upon its base. 



CHORE'A {\opeLa). A choral 
dance; i. e., in which the performers 
join hand in hand, so as to form a 
circle and dance to the sound of their 
own voices, precisely as represented 
in the illustration, from a painting in 




the baths of Titus at Rome. Virg. 
Cul. 19. Ov. Met viii. 581. Claud. 
B. Gild. 448. 

CHOROB'ATES. An instrument 
used for taking the level of water, 
and of the country through which it 
is to be conducted. Vitruv. viii. 5. 1. 

CHO'ROCITHARIS'TA. A mu- 
sician who accompanies a chorus of 
singers on the cithara. Suet. Dom. 4. 

CHORS, CORS, or COHORS 
ixoproc). A farm or strawyard. 
which constituted one of the principal 
appendages belonging to a country 
villa, where the whole live stock, 
cattle, pigs, poultry, &c, were kept, 
stalled, and foddered. It consisted of 
a large court covered with litter, for 
the purpose of making dressing for 
the land, provided with a tank, where 
the cattle were watered when brought 
up for the night ; and enclosed all 
round by numerous outbuildings, in- 




cluding sheds for the carts, ploughs, 
and agricultural implements, as well 



CHOR US. 

as stabling, stalls, sties, and houses 
for the cattle, and other domestic 
animals (turba cortis, Mart. Ep. iii. 
58.), forming the live stock of the 
farm. (Varro, Z. Z. v. 88. Id. R. R. 
I. 13. 2. and 3. Vitrav. vi. 6. I.) 
The illustration annexed, which re- 
presents the yard in which the fol- 
lowers of Ulysses were kept when 
changed into swine, from a miniature 
of the Vatican Virgil, will serve to 
convey a notion of the general plan 
and character of an ancient farm-yard 
and its dependencies. 

2. A sheep pen, made with hurdles 
and netting, and set up on the lands 
where the flock pastured, to protect 
them at night. (Varro, R. R. ii. 2. 
9.) Also a permanent enclosure 
surrounded by high stone walls, in 
which sheep were stalled. Columell. 
vii. 3. 8. 

CHORUS {xop'> ). A band or 
company of persons engaged in 
dancing and singing, more especially 
when their songs and dances were 
performed in honour, or as part of 
the worship, of some divinity. Cic. 
Phil. v. 6. Virg. ALn. viii. 718. Suet. 
Cal. 37. Hor. Od. i. I. 31. 

2. The chorus of singers in a dra- 
matic entertainment on the Greek 
stage. The performers in it were 
entirely distinct from the actors, 
though they sometimes performed the 
part of interlocutors. The Roman 
drama had no chorus. Hor. A. P. 
193. 204. 283. Aul. Gell. xix. 10. 

3. A choral or round dance. 
\Mart. Ep. iv. 44. Compare Tibull. 
ii. 8. 88.) Same as Chorea ; where 
see the illustration. 

CHRVSEN'DETA ( X ov<Th>S(Ta). 
The name given to a particular ma- 
nufacture of plate employed by the 
wealthy Romans for their table ser- 
vices, but the precise character of 
w hich is not ascertained ; excepting 
that the name itself and the epithets 
applied to it, appear to indicate that 
the articles were made upon a basis of 
silver, with ornaments of gold either 
inlaid, or chased in relief upon it. 



C ICON I A. I57 

Mart. Ep. ii. 43. Id. vi. 94. Id. xiv. 
97. and compare Cic. Verr. iv. 21-23. 

CHVT'RA (xvtpa). A common 
kind of earthenware pot in use 
amongst the Greeks, ^ 
employed for boiling ^ r-^^ 

and cooking, or any jt^ 

ordinary purpose ; V 
and, therefore, left 
in its natural rough 
state of red clay, without any sort of 
decoration or painting. (Aristoph. 
Pac. 923. Athen. ix. 73. Cato, R. R. 
157. 11., where, however, some edi- 
tions read scutra. ) The illustration, 
from an original, represents the 
form of these pots according to Pa- 
nofka, Recherches sur les veritables 
Noms des Vases Grecs, i. 28. 

CHYTROPUS { X vrp67riwtj). A 
chytra made with legs, so that it could 
be set over the fire 



without being placed 
upon a trivet, as 
shown by the an- 
nexed figure, from 
an original after Pa- 




nofka. Hesiod. Op. 
746. Vulg. Levit. xi. 35. _ 

CIBILL'A. The reading of some 
editions in a passage of Varro (Z. Z. 
v. 118.) for Cilliba ; which see. 

CIBO'RIUM (/emptor). Lite- 
rally, the seed-pod of the Egyptian 
bean [colocasid] ; and thence a drink- 
ing vessel of Greek invention, so 
termed from its resemblance to the 
form of that fruit. Hor. Od. ii. 7. 
22. Schol. Vet. ad /. Athen. xi. 54. 

CICO'NIA. Literally, a stork; 
but also applied to a mimic gesture 
expressive of ridicule or contempt, 
produced by bending the forefinger 
into the form of a stork's neck, 
and pointing it towards the person 
ridiculed with a rapid motion of the 
two top joints up and down. Pers. i. 
58. Hieron. Epist. 125. 18. 

2. A contrivance employed by 
farmers to test a labourers work in 
spade husbandry, and prove if all his 
trenches were dug to a uniform and 
proper width and depth. It consisted 



i5« 



C ICON! A. 



CJLICIUM. 



of an upright, with a cross-bar affixed 
to it, at right angles, like the letter 
T inverted, so that the long branch 
measured the depth, the two shorter 
arms the width and evenness of the 
trench. Columell. iii. 13. II. 

3. Ciconia composite*. A contri- 
vance of the same description as the 
preceding, but not quite so simple; in- 
vented by Columella, to remedy some 
inconveniences experienced in the use 
of that instrument, which led to fre- 
quent disputes between the farmer and 
his labourers, without insuring him 
against being deceived by -them; inas- 
much as it required a very sharp eye 
to see that the instrument was placed 
fairly upright in the furrow, and not 
in a slanting position, which would 
make the trench appear deeper than 
it really was. For this purpose he 
added two cross-bars to the original 
instrument, nailed 
on it in the form of 
the letter X, . and 
suspended a line 
and plummet from 
the point where 
they intersected 
each other ; thus, 
the extreme ends of 
the cross-bars and 
tail-piece proved the width of the 
trench at top and bottom, and showed 
if the sides were dug fair and even 
throughout ; the height of the ma- 
chine measured the exact depth of 
the trench ; and the plumb-line pre- 
vented disputes by indicating at once 
whether it was inserted in a hori- 
zontal position or not. (Columell. 
iii. 13. 12.) The illustration is not 
•from the antique, but is a conjectural 
diagram by Schneider, constructed 
in accordance with Columella's de- 
scription, and inserted here in order 
to convey a better idea than words 
alone can express. 

4. A name given by the ancient 
Spaniards to the machine for raising 
water from a well, which we call a 
"swipe," and the Romans termed 
ToLLENO. Isidor. Orig. xx, 15. 3. 






are distinctly 



CICU'TA. Literally, the hemlock; 
whence transferred to things made 
out of the stalks of that plant, espe- 
cially the Pan's pipes. 
Virg. Eel. ii. 36. Lu- 
cret. v. 1382. 

CICU'TICEN. A 
performer on the 
Pans pipes, made of 
the hemlock stalks. 
(Sidon. Carm. i. 15.) 
The illustration is from a small ivory 
figure in the Florentine Museum. 

CID'ARIS. (icidctpig and Kiraptg). 
The royal bonnet worn by the kings 
of Persia, Armenia, 
and Parthia, which 
had a tall, stiff, and 
straight crown, en- 
circled by a blue dia- 
dem ornamented with 
white spots (Curt. iii. 
3.). All these parti- 
culars, with the ex- 
ception of the colour, 
visible in the illustration, which re- 
presents Tigranes, king of Armenia, 
from a Syrian medal. 

2. The bonnet worn by the high 
priest of the Jews. Hieron. Epist. 
64. 2. and 13. 

CILIBAN'TUM. A wine or 
drinking table of circular form, sup- 
ported upon three legs ; 
for circular tables, on 
a single stem, had an 
appropriate name of 
their own — monopo- 
dia. Tables of this 
kind are frequently 
represented in the Pompeian paint- 
ings, from one of which the annexed 
illustration is copied, with the drinking 
vessels (capides, capuhv) upon it, pre- 
cisely as mentioned by Varro, L. L. 
v. 121. 

CILIC'IUM [kiXIkiov). A coarse 
kind of cloth made of goats' hair, 
used for various purposes, in the army 
and navy more especially, and pro- 
bably resembling the material now 
used for coal-sacks and horses' nose- 
bags. Cic. Verr. ii. I. 38. Liv. 




CILLIBA, 



CINCTUS. 



r 59 



xxxviii. 7. Veget. Mil.'xs. 6. Sew. 
ad Virg. Georg. iii. 313. 

CIL'LIBA (/aAX/^at). A Greek 
word, signifying literally the trestle, 
which forms a stand for anything ; 
whence it was adopted by the Ro- 
mans to designate a dining-table of 
square form, supported by trestles 
underneath, as shown by the illus- 
tration, from the Vatican Virgil, 




which represents the table at which 
the companions of Ulysses fed, when 
changed into beasts. Square dining- 
tables were usually employed by the 
early Romans ; but had fallen into 
disuse before the age of Varro, when 
circular ones were mostly adopted ; 
except in camps for the military 
mess, where the old form was retained 
as more convenient. Varro, L. Z. v. 
118. 

C IN /ED US (idi'aiSoc). A dancing- 
master, who taught the art of dancing 
in a school (Scipio Afr. ap. Macrob. 
Sat. ii. 10. Non. s. v. p, 5. Plaut. 
Mil. iii. 73.). In early times, 
while this kind of exercise was con- 
fined to religious and warlike dances, 
it was not esteemed unbecoming ; 
but with the corruption of manners 
when mimetic and lascivious dances 
were introduced upon the stage, the 
name was likewise given to the per- 
formers in those exhibitions, and 
thence, in a more indefinite meaning, 
it became a term of reproach for any 
one who indulged in the indelicate 
propensities for which the stage dan- 
cers were notorious. 

CINCINNATUS. Having the 
hair of the head twisted into long 
corkscrew curls or ringlets (cincinm). 
Cic. in Senat. 5. Id. pro Sext. 11. 




CINCIN'NUS (2X<£), A ringlet, 
or long corkscrew curl of hair, like 
the twist of a fringe 
(Cic. Pis. 11.), or the 
tendril of a vine 
(Varro, R. R. i. 31. 
4.), as in the exam- 
ple, from the Column 
of Trajan. Though 
ringlets of this kind 
are natural to some 
few individuals, the term mostly 
implies that they were artificially 
produced with the curling-irons. 

CINCTICULUS. Diminutive of 
Cinctus, -us ; a short petticoat or 
kilt worn by boys round the loins in 
the same way as the cinctus by grown- 
up persons. Plaut. Bacch. iii 3. 28. 

CINCTO'RIUM. A belt worn 
round the waist, for the purpose of 
attaching the sword 
(Mela, ii. 1.), as con- 
tradistinguished from 
the baldrick {balteus), 
which was slung over 
the shoulder. The 
consuls, tribunes, and 
superior officers of the 
Roman army are al- 
ways represented on 
the columns and arch- 
es with their swords 
attached by a cinctori- 
um, as in the example, 
from a bas- relief in 
the Capitol at Rome ; 
but the orderlies, or common men 
carry theirs suspended from a balteus. 

CINCTUS, -us {6id^wfia,7rtf)i^uj^a) 1 





i6o 



CINCTUS. 



CINGILL UM. 



A sort of petticoat, like the Scotch 
kilt, reaching from the waist to the 
knees, or thereabouts, which was 
worn in early times, instead of the 
tunic, by persons of the male sex, 
engaged in active or laborious em- 
ployments. Isidor. Orig. xix. 33. I. 
Varro, L. L. v. 114., as shown by the 
illustration, from a terra-cotta lamp. 

2. A waist-band worn over the 
tunic (Plin. H. N. xxviii. 9. Suet. 
Nero, 51.) ; same as Cingula and 

ClNGULUM, 3. 

3. ductus Gabinus. 
manner of adjusting 
the toga (Liv. v. 
46. Id. viii. 9.), in 
which one end of 
it was thrown over 
the head, and the 
other passed round 
the waist behind 
(Serv. adVirg. s£n. 
vii. 612.), so as to 
present the appear- 
ance of a girdle, 
precisely as shown 
in the annexed fi- 
gure, from the Vatican Virgil. 

CINCTUS, -a, -urn. Generally, 
wearing a girdle, belt, or sash of any 
kind, and applied to both sexes ; to 
females, who wore a girdle under the 
breast (Ovid. Met. vi. 59. and ClN- 
GULUM, 1.), or, like a zone, round the 
loins (Curt. hi. 3. and ClNGULUM, 
2.) ; to men, who wore a girdle over 
the tunic (Plaut. Cure. ii. I. 5. and 
ClNGULUM, 3.) ; or their swords 
attached to a waist-band {gladto 
cinctus, Liv. xxxviii. 21. and CiNC- 
TORIUM) ; and to huntsmen who car- 
ried their knives in a waist-band 
icultro venatorio cinctus, Suet. Aug. 
35. and 19.). 

2. Cinctus alte. See Alticinctus. 

CINCTU'TUS. Clothed after the 
fashion of the early ages ; i. e., with 
nothing but a short kilt {cinctus, 
7rfpi'£w/!rt) round the loins, as repre- 
sented in the last illustration except 
one. Hor. A. P. 50. Ovid. Fast. v. 
101. Compare Plutarch, Rom. 21. 



CINERARIUM. A niche in a 
tomb, adapted for the reception of a 
large cinerary urn, or a sarcophagus, 
as contradistinguished from colum- 
barium, which was of smaller dimen- 
sions, and only formed to receive a 
pair of jars [piles). (Inscript. ap. 
Grut. 850. 10. Ap. Fabrett. 16. 71. 

CALPURNIA EMIT COLUMBARIA N. 
IV. OLLAS. N. VIII. ET CINERARIUM 

MEDIANUM.) The illustration, which 
represents one side of a sepulchral 
chamber, as it appeared when first 
excavated, presents an arrangement 




similar to that set forth by the pre- 
ceding inscription, with two colum- 
baria at bottom, over which are the 
same number of cinerary niches for 
urns, and a larger one in the centre 
[cinerarium medianum), with its sar- 
cophagus. 

CINERARIUS. A slave who 
waited upon the ornatrix while en- 
gaged in dressing her mistress's hair. 
His chief duty consisted in heating 
the curling-irons in the ashes (cineres), 
whence the name (Varro, L. L. v. 
129.) ; but in some cases, he also 
performed the part of a barber. 
Catull. 61. 138. Seneca, Constant. 
Sap. 14. 

CINGIL'LUM. A diminutive of 
Cingulum ; but in a passage of Pe- 
tronius {Sat. 67. 4.), the only one 
in which the word occurs, it is clearly 
used to designate an article of female 
attire, worn on the upper part of the 
person, and reaching from the shoul- 
ders to a little below the waist ; for, 
when Fortunata appears at the ban- 



CINGULA. 



CJNGULUM. 



16; 



quet of Trimalchio, she wears a yel- 
low cingillum over a cherry-coloured 
tunic, which is seen below it ; the 




tunic also being sufficiently short to 
leave the bangles round her ankles, 
and her Greek shoes exposed to 
view — galbino succincta cingillo, ita, 
id infra cerasina appareret tunica, et 
periscelides tortce, phcecasiceque inau- 
ratce. It must, therefore, have re- 
sembled what we now term a jacket 
or spenser, such as is frequently re- 
presented in the Pompeian paintings, 
from one of which the illustration is 
copied, and if the tunic were only 
drawn up a little higher through its 
girdle, so as to leave the feet and 
ankles exposed, it would strictly ac- 
cord with the entire costume de- 
scribed. 

CIN'GULA. A girth or surcingle 
by which the saddle pad is fastened, 
as in the example, from the Column 




of Antoninus. 
Calpurn, Eel. vi. 41. 

2. A man's girdle round the waist. 
Ovid. A. A mat. iii. 444. and CiN- 

GULUM 3. 

CIN'GULUM {rairla). A band, 




sash, or girdle worn by females 
over the tunic, and 
close under the 
bosom, in order 
to make the dress 
sit close, and be- 
comingly on the 
person, as shown 
by the figure an- 
nexed, from 
Greek statue. Isi- 
dor. Orig. xix. 33. 

1. Virg. JE11. i. 
492. 

2. {£mvi}) A girdle or sash also 
worn by females, and especially 
young unmarried 
women, but fast- 
ened lower down 
the body, just 
above the hips, as 
shown by the an- 
nexed illustration, 
representing Elec- 
tra, from a marble 
found at Hercula- 
neum, with the 
sash drawn by its 
side, from a Greek 
vase. In this sense the term is also 
applied to the Cestus of Venus. 
F estus, s. v. Val. Flacc. vi. 470. and 
Cestus. 

3. (Zwnriif)) . A man's girdle, 
worn round the waist, and outside 
the tunic, as shown 
by the example, 
from a statue at 
Naples. It served 
for carrying any 
small article sus- 
pended from it, and 
especially to shorten 
the tunic, when the 
wearer was en- 
gaged in active ex- 
ercise, by drawing 
up the lower part 
to any desirable height. Pet. Sat. 21. 

2. and Alticinctus. 

4. {/.iirpa, Z,ioaTr)p, ^ww|). A sol' 
dier^s belt, made of metal, or of 
leather plated with metal, worn 

L 





CINIFLO. 



CIRC IN US. 



round the loins to secure the bottom 
of the cuirass (see the illustration s. 
Clipeatus i.), and protect the belly. 




It was fastened by hooks, as in the 
example, from an original of bronze 
found in a warrior's tomb at Psestum ; 
and over this the sword-belt {cincto- 
rium) was also strapped, whence Vir- 
gil, in describing the armour of Pallas 
{/En. xii. 942 ), indicates both of these 
cinctures by the plural cingula. for the 
shoulder band {balteus), which, sup- 
ported the shield, is separately men- 
tioned. 

5. {ciaQwuci, 7npiZa>/ja). An article 
in female attire similar to the ductus 
of males (Var.ro, 
L. L. v. 114.), 
viz. a short pet- 
ticoat reaching 
from the waist to 
the knees, which 
was worn in ear- 
ly times instead 
of a tunic, espe- 
cially by women 
who led an active 
or laborious life ; 
whence it is very 
commonly assigned to 
nian women on the fictile vases, from 
one of which the illustration is copied. 

CIN'IFLO. A slave attached to 
the female part of the household, 
whose business it was either to heat 
the irons for the ornatrix (Schol. 
Acron. ad Hor. Sat. i. 2. 98.) when 
she was dressing her mistress's hair ; 
or, according to -Servius {ad Virg. 
siEn. xii. 611.), to procure and ad- 
minister the powder (cinis) which 
women employed for tinting their hair 
of a light auburn colour. 

CIPPUS (<TT,)\r)). A short round 
post or pillar of stone set up to mark 
the boundaries between adjacent 
lands or neighbouring states. (Sim* 




Amazo- 



plic. ap. Goes. p. 88.) The illustra- 
tion represents one of these stones, 
now preserved in the Museum of 
Verona. From the 
inscription (one of 
the oldest authentic 



inscriptions 




Roman 

extant) we learn 
that it was set up by 
Atilius Saranus, who 
was dispatched by 
the senate, as proconsul, to reconcile 
a dispute between the people of 
A teste {Este) and Vincentia ( Vicenza) 
respecting their boundaries. 

2. A low pillar, sometimes round, 
but more frequently rectangular, 
erected as a tomb-stone over the spot 
where a person was buried, or em- 
ployed as a tomb for containing the 
ashes after they had been collected 




from the funeral pyre, by persons 
who could not afford the expense ot 
a more imposing fabric. (Pers. i. 
37.) The illustration represents an 
elevation and section of a cippus, 
which formerly stood on the Via 
Appia ; the section, on the left hand, 
shows the movable lid. and the cavity 
for receiving the ashes. - 

3. A strong post, formed out of the 
trunk of a tree, with the weaker 
branches cut off, sharpened to a 
point, and driven into the ground to 
serve as a palisade in military forti- 
fications. Caes. B. G. vii. 73. 

CIR'CINUS {ha^r m .) A pair 
of compasses, employed by carpenters, 
architects, masons, and sculptors, for 
describing circles, measuring dis- 
tances, or taking the thickness of 
solids. (Cces. B. G. i. 38. Vitruv. ix. 



CIKCITORES. 



CIRCULUS. 



I6 3 



8. 2.) The illustration represents 
three sorts of compasses, similar to 




those still in use ; on the right a pair 
of proportional compasses, on the left 
a pair of callipers, and a small com- 
mon compass in the centre, all copied 
from originals found at Pompeii. 

CIRCITO'RES. Surveyors of 
the Roman aqueducts, whose duty it 
was to visit the different lines for the 
purpose of seeing if any parts wanted 
repairs, and that no frauds had been 
committed by the insertion of im- 
proper pipes, in order to divert the 
water without permission, or draw 
off a larger quantity of it than the 
law allotted. Frontin. At]. 117. 

2. In the Roman armies, a detach- 
ment of men appointed to go the 
rounds at certain intervals, and see 
that all the watches were regularly 
kept, and all the sentries at their 
posts. Veget. Mil. hi. 8. Inscript. 
ap. Murat. 540. 2. 

3. Commercial travellers, employed 
by certain manufacturers and trades- 
men, to carry round and dispose of 
the goods they made. Ulp. Dig. 
14- 3- IS- 

CIRCU'ITOR. A watchman or 
looker out. employed upon a farm or 
country villa, to go the rounds and 
protect the gardens and fields from 
depredations. Pet. Priap. 16. 1. 

CIRCULATOR. A strolling 
juggler, or mountebank, who goes 
about getting money by showing off 
tricks and sleights of hand (Celsus, 
v. 27. 3. Apul. Met. i. p. 3.); or 
with trained animals (Paul. Dig. 47. 



11. 11.), as shown by the annexed 




illustration, from a terra-cotta lamp. 

CIR'CULUS {kvkXoc). A circle : 
thence, applied to various thing? 
which have a circulai- figure ; as — 

I. The hoop of a cask (cupa), by 
which the staves are bound together. 




as in the example cf a Roman cask, 
from Trajan's Column. Pet. Sat. 60. 
3. Plin. H. N. xiv. 27. Id. xvi. 30. 

2. A particular kind of cake or 
biscuit, made in the form of a ring. 
Van©, L. L. v. 106. Vopisq. Tar. 6. 

3. A circular dish, upon which 
food was brought up and placed upon 
the table (Mart. Ep. xiv. 138.), as 
shown by the illustration, from the 




Vatican Virgil ; whereas many dishes 
were only handed round to the guests, 
without being deposited on the dining- 
table. 

4. The broad belt in the sphere, 
I which contains the twelve signs of 
the zodiac, and represents the sun's- 



164 CIS C UMCIDA XE US. 



CIRCUS. 



track through them, as seen in the 
annexed example, from a Pompeian 
painting. AuL (Sell. xiii. 9. 3. 




5. An imaginary circle in the 
heavens, or which astronomers de- 
scribe on the celestial globe, for the 
purpose of marking out certain re- 
gions of the sky, and explaining the 
course of the planets, as seen in the 
illustration, from a statue of Atlas 




bearing the heavens on his shoulders. 
Yarro, L. L. vi. 8. Cic. So mn. Scip. 
3. Ovid. Met. ii. 516. 

CIRCUMCIDA'NEUS. Lite- 
rally, cut round ; but the word is em- 
ployed in a special sense to designate 
an inferior quality of newly-made 
wine, or must, pi-oduced by repeated 
squeezings under the press beam. 
To understand distinctly the meaning ! 
of the word and the quality of the ar- 
ticle intended by it, we have only to 
reflect, that when the fresh grapes had 
been crashed in a vat by the naked feet, 
the residue of stalks and skins (pes) 
was carried in a mass to the pressing 
machine [torcular), and there subjected ' 
to the action of a powerful beam 
{prelum) screwed down upon it, which 
extracted all the juice remaining in 
them. This operation would natu- 



; rally cause a portion of the mass to 
: bulge out beyond the edge of the 
j surfaces between which it was 
squeezed, without being thoroughlv 
i pressed. It was, therefore, cut off" all 
1 rouua with a knife, and again placed 
under the beam, and the juice it 
yielded was the circumcidaneum . 
When the mass of skins was enclosed 
in a basket [fiscina), or between laths 
of wood (regulce), it was purposely to 
I prevent it from bulging out, and, con- 
sequently, when so treated, there was 
no circumcidaneum produced. Cato, 
R. R. 23. 4. Yarro. R. R. i. 24. Co- 
lumell. xii. 36. Plin. H. X. xiv. 23. 
and 25. 

CIRCUMSIT'IUM. (Yarro, R. R. 
i. 54.) Same as CIRCUMCIDANEUM. 

CIRCUMCISO'RIUM. An in- 
strument employed by veterinaries 
; for bleeding cattle in the feet. Ye- 
! get. Vet. i. 26. 

1 CIRCUS (Kipicoc. Tolyb. xxx. 13. 

I 2.) A Roman circus, or race-course, 
which, in the earliest times, was no- 

\ thing more than a flat open space, 

; round which temporary wooden plat- 
forms or scaffoldings were raised for 
the spectators to stand upon : but 
even before the destruction of the 
monarchy, a permanent building was 

j constructed for the purpose, and laid 
out upon a regular plan, ever after- 
wards retained until the final disso- 

; lution of the empire ; and then the 

j entire edifice, with its race-course 
and appendages, was included under 
the general name of circus. Liv. i. 35. 
Yarro, L. L. v. 135. Dionys. iii. 68. 

The ground-plan was laid out in 
an oblong form, terminating in a 
semicircle at one extremity, and en- 
closed at the opposite end by a pile 
of buildings called K the town " (op- 
pidum), under which the stalls (car 
ceres) for the horses and chariots 
were distributed, marked A. A. in the 
engraving, which represents the 
ground-plan of a circus still remain- 
ing in considerable preservation on the 
Appian AVay. near Rome, commonly 
known as the Circus of Caracalla. 



CIRCUS. 



A long low wall {spina, B on the 
plan) was built lengthways down the 
course, so as to form a barrier, by 
which it was divided into two distinct 
parts; and at each of its ends was placed 
a goal (met a), round which the char- 
iots turned ; the one nearest to the 
stables (c) being termed meta prima, 
the farthest one (d) meta secunda. 



It will be perceived that the two sides 
of the circus in the example are not 
quite parallel to each other, and that 
the spina is not exactly equidistant 
from both sides. Perhaps this is 
an exceptional case, only adopted 
in structures of a limited extent, like 
the present one, with the object of 
affording most room for the chariots at 




the commencement of the race, when 
they all started abreast ; but when 
the goal at the bottom (d) had been 
turned, their position would be more 
in column than in line ; and conse- 
quently less width would be required 
across that side of the course. For a 
similar reason, the right horn of the 
circus is longer than the left ; and 
the stalls (a a) are arranged in the 
segment of a circle, of which the 
centre falls at the point (E), exactly 
midway between the first meta and 
the side of the building, at which the 
race commenced. The object of this 
was that all the chariots, as they 
came out from their stalls, might 
have the same distance to pass over 
before they reached the spot where 
the start took place, which was at 
the opening of the course, where a 
chalked rope (alba linea, e) was 
fastened across from two small marble 
pillars (kermuits), and loosened away 
from one side, as soon as all the 
horses had bi-ought up fairly abreast 
of it, and the signal for the start had 
been displayed. The outbuilding 
(f) is the emperor's box (pulvinar) ; 
and the one on the opposite side (g) 
supposed to have been intended for 
the magistrate (editor spectaculorum), 
at whose charge the games were 
exhibited. In the centre of the end 
occupied by the stalls was a grand | 



entrance (h), called porta pompcv, 
through which the Circensian pro- 
cession entered the ground before the 
races commenced ; another one was 
constructed at the circular extremity 
(i), called porta triumphalis, through 
which the victors left the ground in 
a sort of triumph ; a third is situated 
on the right side (k), called porta 
libitinensis, through which the killed 
or wounded drivers were conveyed 
away, and two others (ll) were left 
close by the carceres. through which 
the chariots were driven into the 
ground. 

As regards the external and in- 
ternal elevation of the edifice, a cir- 
cus was constructed upon a similar 
design to that adopted for theatres 
and amphitheatres ; consisting on the 
outside of one or more stories of 
arcades, according to the size and 
grandeur of the building, through 
which the spectators entered upon 
the staircases, leading into the in- 
terior of the fabric. The interior 
was arranged in rows of seats, divided 
into tiers, and separated by stairs 
and landing places, in the same man- 
ner as described and illustrated under 
the word Amphitheatrum ; of which 
a fair idea may be conceived from 
the next engraving, representing 
the ancient race-course at Constan- 
tinople, as it appears on an old map. 



i66 



CIRRA TUS. 



CIRRUS. 



executed before that city was taken 
by the Turks. Though a ruin, it 
shows distinctly the arcades and 



fragments of the rows of seats for 
the spectators ; the spina, with its 
obelisks and columns nearly perfect ; 
the meta piima on the right hand of 




it ; the oppidum and carceres, ar- 
ranged on a curved line, like the first 
example; and one of the gates, 
through which the chariots entered 
the ground, like those marked L L on 
the ground-plan ; it is besides re- 
markable as affording the only known 
instance in which the superstructure 
of a circus is exhibited. 

CIRRA'TUS. Of men or women 
(Mart. ix. 30. Ammian. xiv. 6. 20.); 
see Cirrus i. Of cloth fabrics (Ca- 
pitol. Pertinax. 8.) ; see Cirrus 8. 

CIRRUS. Properly, a lock of 
curly hair, growing in a full and 
natural curl, as contradistinguished 
from Cincinnus, a ringlet or twisted 
curl, mostly made with the irons ; 
such, for instance, as was natural to 
the youth of Greece, before they at- 
tained the age of manhood, when 
their locks were cut off and dedicated 
to some deity (Varro, ap. Non. s. v. 
p. 94.) ; or to the Germans (Juv. 
Sat. xiii. 1 64.) and Gauls, who were 
distinguished amongst the ancients 
for the abundance and beauty of their 
hair, and, consequently, in all works 
of art, are commonly delineated 
with this characteristic. See the illus- 
tration, s. Comatus. 

2. Cirrus in verticc (//aXXos aOXri- 
rov, Gloss. Vet ) A tuft of hair 
drawn up all round the head, and 
tied into a bunch on the occiput, as 
was the practice of athletes, wrestlers, 
boxers, &c, in order to avoid being 




seized by the hair in the heat of 
contest, as exhibited in the illustra- 
tion, from a bas- 
relief in the Va- 
tican, represent- 
ting a pair of 
Pa ncratias tee. 
The example 
likewise explains 
a passage ot 
Suetonius {Nero, 
45.), in which it is related, that 
during the insurrection of Vindex, 
and while the city of Rome was suf- 
fering severely from famine, a vessel 
arrived from Alexandria, which, 
instead of being laden with grain, 
only brought a cargo of fine sand for 
the use of the athletes maintained 
by the emperor. The population, 
enraged at this, fastened a tuft of 
hair [cirrus in verticc) on the top of 
all his statues, with a pasquinade 
below in Greek characters, alluding 
to the insurrection of Vindex, and 
thus implying that the emperor, as 
an athlete, was about to commence a 
contest in which he would be worsted. 

3. The forelock of a horse, when 
tied up into a 
tuft at the top 
of his head, as 
in the example, 
from a Pom- 
peian painting, 
instead of being 
left to fall over 




CISIARIUM. 



CISTA. 



^7 




his forehead, when it was called ca- 
pronce. Veget. Vet. iv. 2. 

4. The fetlock tuft of a horse. 
Veget. Vet. ii. 28. Id. iv. 1. 

5. The topknot, or tuft upon the 
heads of certain birds. Plin. H. N. 
xi.44. 

6. A tuft of flowers, which grow in 
close bunches or tufts. Plin. H. N. 
xxvi. 20. 

7. The arms of the polypus, which 
are divided into numerous feelers, 
like a bunch of hair. Plin. H: N. 
xxvi. 37. 

8. The fringe on a piece of cloth 
(Phaedr. ii. 5. 13.), which was pro- 
duced by leaving the 
ends of the warp 
threads upon the 
cloth after it was 
taken from the loom, 
instead of cutting 
them off. The ex- 
ample is from a Pom- 
peian painting; and 
compare the article 
and illustration s. Tela recta. 

CISIA'RIUM. A manufactory 
where gigs {cisia) were built. In- 
script. ap. Fabrett. p. 91. 179. 

CISIA'RIUS. "One who builds 
gigs {cisia). Inscript. ap. Mux, p. 
979. 6. p. 108. 4. 

2. The driver of a hired gig 
(cjsium) like our cab driver. (Ulp. 
Dig. 19. 2. 13.) See the next wood- 
cut, and observe that the driver sits 
on the near side, which is still the 
practice in Italy. 

CIS'IUM. A light, two- wheeled 
chaise or gig (Non. s. z\ p. 86.), em- 
ployed by the Romans as a public 
and private conveyance, when ra- 
pidity of transit was required. (Cic. 
Tkil. ii. 31. Id. Rose. Am. 7. Virg. 
Catal. viii. 3.) It carried two per- 
sons, the driver and another, was 
open in front, and furnished with 
shafts, to which one, or sometimes 
two outriggers (Auson. Ep. viii. 6. 
cisio trijugi) were occasionally added, 
as is still the practice in the Neapo- 
litan calessin. Most of these par- 



ticulars are shown in the example, 
copied from a bas-relief on the monu- 




ment at Igel ; but which is incor- 
rectly given in the English edition of 
Wyttenbach's Treves, where the out- 
rigger is omitted. 

CISO'RIUM. A sharp cutting 
instrument employed by veterinaries. 
Yeget. Vet. ii. 22. 

CISSYB'IUM {kwgv^iov). A 
Grecian drinkingbowl with a han- 
dle ; originally made of ivy wood, 
but, subsequently, distinguished by a 
wreath of ivy leaves and berries 
carved upon it. Macrob. Sat. v. 21. 
Theocr. Id. i. 27. 

CISTA [KiaTt]). A deep cylin- 
drical basket, covered with a lid, and 
made of wicker-work 
(Plin. H. N. xv. 18. 
n. 2. Id. xvi. 77 ), 
which was employed 
in various ways, as 
its form and charac- 
ter rendered it applicable. The ex- 
ample here introduced is copied from 
a Roman bas-relief ; but baskets of 
a similar form and character are fre- 
quently represented both in sculpture 
and painting. When square cistce are 
mentioned (Columell. xii. 54. 2.1, 
the very addition of the epithet im- 
plies an unusual shape ; and the uni- 
form character of the following illus- 
trations, all representing different 
objects which bore the common 
name of cista, is sufficient to declare 
the figure which presented itself to 
the ancient mind in correspondence 
with that name. 

2. A money-box (Hor. Ep. i. 17. 
54. Cic. Verr. ii. 3. 85. ), undoubt- 
edly of smaller dimensions than the 




i68 



CISTA. 




coffer or chest, of which an 
{ration is introduced 
s. Arc A i. The 
specimen here an- 
nexed is from an 
original of earthen- 
ware, which has a 
slit at the top for 
dropping in the 
money, like those 
now-used by the licensed beggars in 
the Italian towns, 

3, . A • bdokbqsket (Juv. iii. 206.), 
similar to the capsa in form and 
character, but made of wicker-work 
instead of wood ; and like that also 
used for other similar purposes, as 
for keeping clothes (Poeta vet. ap. 
Quint, viii. 3. 19..). See the illus- 
trations s, Capsa. 

. 4. A basket employed at the Co- 
mitia and in the courts of justice, into 
which the voters and the judges cast 
the tablets (tabet/ce) by which their 
votes . or sentences were declared. 




(Auctpr. ad Herenn. 1. 12. Plin. II. 
A T . xxxiii. 2. § 7. Manutius de Comit. 
Rom. xv. p. 572. Wander. Codex 
Erfictens. p. 158. seqq.). The illustra- 
tion is from a coin of the Cassian 
family, and represents a voter drop- 
ping his tablet of acquittal (marked A 
for absolvo) into the cista. 

5. The mystic cist ; a covered 
basket, box, or case, in which the 
sacred utensils, and other articles ap- 
pertaining to the rites of Ceres and 
Bacchus were enclosed, in order to 



conceal them from the eyes of profane 
beholders, whilst carried in solemn 
procession upon the festivals ap- 
pointed for those deities ; for all the 
ceremonies connected with their wor- 
ship were conducted in profound se^ 
crecy. (Catull. 64. 260. Tibull. i. 7. 
48. Compare Ov. A. A vi. ii. 609. ) 
There is no doubt that the cista em- 
ployed for this purpose was, in the 
first instance, a mere quicker basket, 
similar to the one delineated in the first 
woodcut which illustrates this article ; 
for it is so represented on numerous 
coins and bas-reliefs, where the wic- 
ker-work is expressed in detail ; but, 
subsequently, or amongst wealthy 
congregations, it was made of more 
costly materials and elegant work- 
manship, as proved by two originals 
in bronze now preserved at Rome ; 
one of which was found near the 
ancient Labicum, the other at Prse- 
neste. The latter is represented in 
the annexed engraving. It stands 
upon three feet ; 
the bandies by 
which it was car- 
ried are observable 
at the sides ; the 
lid is surmounted 
by two figures, a 
bacchante and a 
faun ; and the out- 
side is covered with 
.a design in outline, representing the 
reception of the Argonauts in the 
arsenal at Cyzicus. In it were found 
the following objects : another small 
case, a model of a kid and of a pan- 
ther, a patera, a ligida, a sharp 
pointed instrument like the stylus, 
and a piece of metal of triangular 
form, the pyramid (7r?'pa/<<c), men- 
tioned by Clemens of Alexandria as 
one of the articles usually contained 
in these cases. The other one, found 
at Labicum, is similar in form, 
material, and style of execution ; 
excepting that it has three figures 
on the lid : Bacchus in the centre 
draped with a robe covered with 
stars, to indicate that he was the 




CIS TEL L A . CIS TOP HO R US. 



nocturnal Bacchus [Nyctelius Pater, 
Ov. A. Am. i. 567.), at which time 
the orgies were celebrated (Serv. ad 
AZn. iv. 303. Compare Liv. xxxix. 
8. seqq. ) ; and a Faun in the nebris 
on each side of him. The inside 
contained a patera, on which the 
contest between Pollux and Amicus 
king of Bebrycia, with Diana be- 
tween them, was represented in con- 
torniate figures, the names of each 
being inscribed over them in a very 
ancient Latin form, Poluces, Amu- 
CES, and Losna, the old name for 
Diana. Under the feet of the figures 
on the lid, there is an inscription, 
resembling in its spelling and Latinity 
the style of that on the Duilian 
Column ; and testifying that the 
vessel was presented by a female, and 
made by a Roman artist of the name 
of Xovius Plautius : — ■ 
DINDIA . MACOLNIA. FILEA . DEDIT . 
NOVIOS.PLAVTIOS.MED.ROMAI.FECID. 

CISTELLA (icwrriV). A small 
CiSTA. Plant. Cist. iv. I. 3. Ter. 
Eun. iv. 6. 15. 

CESTELLA'TRIX. A female 
slave, who had charge of her mis- 
tress's clothes, trinkets, &c, kept in a 
cista. Plaut. Trin. ii. I. 30. 

CISTELL'ULA. A very small 
cista; diminutive of Cistella. Plaut. 
Rud. ii. 3. 60. 

CISTER'NA. An artificial tank 
or reservoir, sunk in the ground, and 
frequently covered in Avith a roof 
(Varro, R. R. i. n.), for the purpose 
of collecting and preserving good 
water for the use of a household. 
(Columell. i. 5. Pallad. i. 17.) It 
differs from our *■ cisterns," which 
are above ground ; and from a 
"well" {puteus), which is supplied 
by springs. 

2. Cisterna frigidaria. Perhaps 
an ice-house. Pet. Sat. 73. 2. 

CIS'TIFER. One who carries a 
cista, hoy., or burden; a porter. Mart. 
Ep. v. 17. 

CISTOPH'ORUS (kmtoQopoc), 
One who carried the mystic case 
-(Cista, 5.) in certain religions pro- 




cessions. In the rites of Ceres and 
Bacchus, or of the Egyptian deities, 
Isis and Osiris, this 
service was performed 
by women, as repre- 
sented in the annexed 
illustration from a 
Pompeian .painting. 
The wreath of ivy 
leaves and berries {co- 
rymbus) round the 
head, show her to 
have been a follower 
of Bacchus ; and the 
bird's eye observable 
on the head of the jug 
indicates a priestess of Osiris, whose 
symbol amongst the Egyptians was 
an eye (Winkelm. Cab. Stosch. p. 
2.) ; and as Bacchus and Osiris were 
the same deify, under different names, 
it is clear that she is a cistophora, 
and not a canephora, as the editors of 
the Museo Borbonico have errone- 
ously termed her, from want of at- 
tention to the above particulars. In 
the ceremonies of Bellona, on the 
contrary, the cista was carried by 
men, as proved by an ancient marble 
discovered on the Monte Mario near 
Rome, which bears the following 
inscription : — l . lartio . antho . 

CISTOPHORO . MD1S . BE1.LON/E, &C, 
and a figure of the cistophorus carved 
upon it. He is draped in a manner 
closely resembling the preceding 
figure, with a tunic reaching to the 
feet, but slightly raised, so as to ex- 
pose an under one beneath it ; a 
pallium over the shoulder ; a chaplet 
round the head ; and an infula hang- 
ing down in front of the bieast ; in 
the right hand a lustral branch, and 
in the left two double axes (bi- 
pennes), characteristic of the priests 
of Bellona. Inscript. ap. Don. 62. 
and 135. Compare Demosth. p. 313. 
28. ed. Reiske. Giovanni Lami, Dis- 
sert az. sopra le Ciste Mistiche. 

2. A silver coin, worth about four 
drachmae, which passed current in 
Asia, whence the expression in cis- 
tophoro (Cic. Att. xi. I.) is equivalent 



170 CISTULA. 



CLABULARE. 



to saying '"'in Asiatic money." It 
received the name either from having 
an impression of the sacred cista 
upon it, or, as is more probable, of 
the shrub cistus (kLotoc). 

CIS'TULA. Diminutive of 
Cista. Plaut. Amph. i. 1. 264. 

CITH'ARA {KiOdpa, KiOapi^). A 
stringed instrument of very great 




antiquity, resembling in form the 
human chest and neck (Isidor. Orig. 
ii. 3. 22.), and so corresponding with 
our guitar, a term which comes to us 
through the Italian chitarra ; the 
Roman c and Italian ch having the 
same sound as the Greek k. The 
illustration here introduced, from an 
ancient bas-relief preserved in the 
hospital of St John in Lateran at 
Rome, agrees so closely with the de- 
scription which Isidorus gives of the 
instrument, as to leave little doubt 
that it preserves the real form of the 
cithara, in the strict and original 
sense of that word ; although it may 
have been sometimes applied by the 
Greeks poets in a less special or 
determinate meaning. See also the 
two following words and illustrations. 

CITHARIS'TA ( K i9a P i<rTm). One 
who plays upon the cithara, or guitar. 




(Cic. Phil. v. 6.) Homer describes 
the manner in which the player held 



this instrument, by saying that it 
was placed tipon the arm (i7ruj\ivioi> 
KiOapi^mu. Hymn. Merc. 432.), as 
shown by the annexed woodcut, 
representing an Egyptian citharista, 
from the tombs at Thebes. It af- 
fords also a further confirmation that 
the character ascribed to the ci- 
thara in the last article is the cor- 
rect one, and will likewise serve as 
an authority for correcting the false 
reading h-KioXiviov in the same hymn 
(v. 507.). It was sometimes sus- 
pended across the shoulders by a 
balteus (Apul. Flor. ii. 15. 2. and 
next woodcut), and, like the lyre, 
was occasionally struck with the//^t-- 
tru?n, instead of the fingers. Horn. 
/. c. 498; 

CITHARIS'TRIA ( K iOapia T pia, 
KiQapicsTp'u;). A female player upon the 
cithara or guitar. (Terent. Ph. i. 2. 
32. and compare 
Citharista.) 
These women were 
frequently intro- 
duced, together 
with dancing and 
singing girls, to 
amuse the guests 
at an entertain- 
ment ; and the 
figure in the en- 
graving, from a 
tomb at Thebes in 
Egypt, is evidently intended to repre- 
sent a character of that description, 
as is apparent from the attention be- 
stowed upon the decoration of. her 
person, the hair, ear-rings, necklace, 
bracelets on the arms and wrists, the 
shoes, and transparent draperv. 

CITHARCE'DA. A female who 
plays the cithara, and at the same 
time accompanies it with her voice. 
Inscript. ap. Grut. 654. 2. ap. Mur. 
941. 1. and compare Citharistria. 

CITHARCE'DUS (KieapydSc). 
One who plays upon the cithara, and 
sings at the same time. Quint, i. 2. 
3. Id. iv. I. 2. Cic. Mur. 13. and 
compare Citharista. 

CLABULA'RE, or CLAVU- 




Cl f ASSIARII. 



LA'RE, sc. vehicuhim. A large cart, 
with open sides made of rails {clavuke 




or clavohc), and intended for the 
conveyance of goods, as well as pas- 
sengers. Under the Empire, it was 
commonly employed for the transport 
of soldiers, which was thence termed 
cursus clabularis. (Impp. Constant, 
et Julian. Cod. Theodos. 6. 29. 2. 
Ammian. xx. 4. 11.) The cart in 
the illustration is from a painting at 
Pompeii, and was employed for the 
transport of wine. The open rail- 
work with which it is constructed, 
helps to authorise the interpretation 
given, which otherwise is to be 
regarded as more conjectural than 
positive. 

CLASSIA'RII {tTri(3dT«i). A 
class of soldiers trained for fighting 
on board ship (Hirt.- B. Alex. 20.), 
thus corresponding in many respects 
with our marines. But this branch 




of the military service was regarded 
by the Romans as less honourable 
than the other ; for both the sailors 
(nanta?) and the rowers {remiges) are 
sometimes included under the general 
name of classiarii (Hii t. B. Alex. 12: 
Tac. Ann. xiv. 4.) The illustration 



CL A US TRU3I. I 7 I 

is from an ancient bas-relief published 
by Scheffer, Mil. Nav. Addend. 

CLAS'SICT. Citizens who be- 
longed to the first of the six classes 
into which the population of Rome 
was divided by Servius Tullius (Aul. 
Gell. vii. 13.) ; -whence the expression 
scriptores classici, classical authors, 
means those of the very first order. 
Aul. Gell. xix. 8. 6. 

2. The horn-blowersAvho summoned 
the classes to the copiitia by sound of 
the lituns or the cornu. Varro, L. L. 

V. 91. CORNICEN. LlTICEN. 

3. Same as Classiarii ; including 
the fighting men as well as the ship's 
company. Curt. iv. 3. Tac. Hist. i. 
31. Ib. ii. 17. 

4. Classica corona (Vellej. ii. 81. 
3.) ; same as Corona navalis. 

CLAS'SICUM. Properly, a sig- 
nal given by sound of trumpet ; 
whence transferred to the instrument 
itself by which the signal was given. 
Serv. ad Virg. ALn. vii. 637. Virg. 
Georg. ii. 539. 

CLATHRA'TUS. Closed or 
protected by cross-bars of trellis 
(clat/iri), as explained in the next 
paragraph. Plaut. Mil. ii. 4. 25. 

CLA'THRI. A trellis or grating 
of wood or metal employed to cover 
over and protect an aperture, such as 




a door or window, or to enclose any- 
thing generally. (Hor. A. P. 473. 
Plin. H. N. viii. 7. Cato, R. R. iv. 1. 
Columell. viii. 17. 10.) The example 
represents the trellis which covered 
in the lunettes over the stalls {car- 
ceres) in the circus of Caracalla. 

CLAUS'TRUM. One of the 
"words employed by the Romans with 
reference to the closing of doors ; and 
used at times in a sense as general 
and indefinite as our term " fastening," 
which may be equally applied to a 



172 



CLAUSULA. 



CLAVA. 



lock, a bolt, a bar, or other contriv- 
ance, when there are no governing 
words to indicate the nature of the 
fastening intended. (Cic. Agr. I. 7. 
Claud, in Eutrop. I. 195.) But many 
other passages as distinctly imply 
that the word had also a special 
meaning, expressive of some parti- 
cular object which went under that 
name, and which would naturally 
possess some analogy with the other 
objects designated by the same term. 
Of these the one which best agrees 
with all these requirements is a 
staple, hasp, or box fixed on to a 
door-post, into which the bolt of a 
lock, whether turned by a key or 
shot by the hand, was inserted in 
order to fasten the door, as may be 
seen on the Egyptian door repre- 
sented in the illustration s. Cardo. 
This interpretation will coincide with 
most, if not all, of the expressions 
made use of in describing a forcible 
entry ; which are such as these — to 
break through, pull out, or force 
back, the claustrum; and as the 
ancient doors were commonly made 
in two flaps, or had fastenings at top 
and bottom, the plural claustra is 
mostly used ; ad clatistra pessuli recur- 
runt, for shutting (Apul. Met. i. p. 10. 
Varior.) ; claustra perfringere, to break 
open (Id. p. 8.) ; evellei-e (Id. p. 70.) ; 
rroelli (Li v. v. 21. Cic. Verr. ii. 4. 
23.) ; claustris, quce accuratissime 
affixa fuerunt, violenter evulsis (Apul. 
Met. iii. p. 46.). Compare Clausula. 

2. Poetically, for the door itself 
(Mart, x 28 ) ; or the gates of a citv. 
Ovid. Met. iv. 86. 

3. A cage or den in which wild 
beasts are enclosed. Hor. Od. iii. 
I [. 44. Stat. Sylv. ii. 5. 4. 

4. In plural, the stalls for the 
horses in the Circus. (Hor. Epist. i. 
14. 9 Stat. Theb. vi. 399.) Same 
as Carceres. 

CLAU'SULA. The handle of a 
stngil (Apul. Flor. ii. 9. 2.), or other 
instrument, when made in such a 
manner that the hand was inserted 
into it, so that it formed a; ring or 



guard all round it, as shown by the 
annexed example, from an original 
bronze strigil found 
in the baths at \fi|i 
Pompeii. The clan- ■ » 
sula is thus contra- 
distinguished from 
capulns, a straight 
handle or haft, and 
from ansa, a handle 
affixed to another 
object. The word 
is also allied to claustrum, the staple 
into which a bolt shoots, to which it 
has a considerable resemblance. 

C L A V A (ponaXov). A stout, 
rough stick, thickening towards the 
butt-end, such as 
we might term a 
cudgel ; sometimes 
used in an offen- 
sive manner (Cic. 
Verr. ii. 4 43.), 
and frequently car- 
ried out of affecta- 
tion by the ancient 
philosophers, 
instead of a walk- 
ing-stick (Sidon 
Epist. iv. 11. ix. 
9. Id. Carm. xv. 
197 ), as shown by 
the annexed figure of Democritus, 
from an engraved gem. 

2. A heavy stick or stave, with 
which reci-uits were made to go 
through their exercises in lieu of a 
sword, and which they used against 
the dummy or manikin (palus), a 
wooden figure set up for the purpose. 
Cic. Senect. 16. Veget. Mil. ii. 11. 

3. (po7ra\ov. Soph. Tr. 512.) A 
club or bludgeon, such as was used by 
Hercules and Theseus (Prop iv 



9. 39. Suet. NerOi 53.) It is always 
represented by the ancient sculptors 
and painters as a formidable weapon, 
made thick and heavy at one extre- 
mity, and gradually tapering towards 
the other, by which it was held in 




CLA VARIUM. 



CLA V1GER. 



J 73 



the hand ; and frequently with the 
knots left rough upon it (irrasa, Sil. 
Ital. viii. 584.) ; as in the example, 
representing the club of Hercules, 
from a Pompeian painting. Compare 
Claviger, 1. 

4. (jcopvi'ij, poira\ov oiSrjixp rerv- 
Xio/jisvov). A mace, or war-club, 
having an iron head, thickly studded 
with knobs or sharp spikes, affixed 
to the wooden handle. In this form 




it is mentioned by Homer (//. vii. 
141), and by Herodotus (vii. 63.), 
when describing the accoutrements 
of the Assyrians who followed the 
army of Xerxes, and is represented 
by the engraving, from an ancient 
Roman fresco painting of the Villa 
Albani, w T here it appears . as the 
weapon of Mars ; thus proving that 
the Romans were also acquainted 
with the implement, though they do 
not appear to have designated it by 
anv characteristic name. 

CLAVA'RIUM. An allowance 
of money made to the Roman sol- 
diery, for the purpose of providing 
nails {clavi caligares) for their boots. 
Tac. Hist. iii. 50. and Clavus, 5. 

CLAVA'TOR. Either a suttler, 
or soldier's servant, who carried his 
baggage (Plaut. Rud. iii. 5. 25.), in 
which sense it would be synonymous 
with Calo ; or, a recruit, who prac- 
tised his exercises with a wooden 
stave (Clava, 2.) before being en- 
trusted with a sword. Festus, s. 
Calones. 

CLAVATUS. Striked with gold, 
purple* or other colours. It was 



customary amongst the Romans to 
weave stripes of this nature into their 
cloth fabrics, both such as were in- 
tended to be made up into garments 
(Vopisc. Bonos. 15.), as those which 
were manufactured for mere house- 
hold purposes, such as table linen, 
napkins, &c. Lamprid. Alex. Sev. 
37. Clavus, 8. 9. 

2. Studded with nails, in reference 
to boots and shoes (Festus, s. v. Cla- 
vata), implying either that 

the sole is set thick with J$§jak 
hob-nails, like the ex- j t jc fij S^ 
ample, representing the /^g^^] 
sole or underneath part of n^^ffi^ 
a terra-cotta lamp made in ^S&am 
the form of a shoe ; or that ^ tt^ ^ 
it is armed with sharp l|§|f§p 
projecting points, like |§||B§| 
the soldier's boot {caliga), Igffifi 
which is represented by the 
illustration to Clavus, 5. 

3. Covered with prickles, spikes, 
or projections, like a mace or club. 
Plin. H. N. ix. 61. Clava. 3. and 4. 

CLAVIC'ULA {kkutio*). Dimi- 
nutive of Clavis. 

CLA'VIGER {Kopwlirijc). Armed 
with a club ; or with a mace. The 




club is well known as one of the 
weapons used by Hercules, whence 
he is distinguished by the epithet 
claviger (Ov. Met. xv. 22.) ; but in 
early times, and amongst many of 
the nations of antiquity, it was em- 
ployed in warfare, as by the Dacians, 
on the Column of Trajan, and by 



174 



CLA VIS. 



the rustic inhabitants of Latium in 
their contests with the Trojans, in 
the miniatures of the Vatican Virgil, 
from one of which the annexed 
figure is copied. The example under 
Clava, 4. shows the club in its im- 
proved form of a mace ; and illustrates 
the -word a 
mace-bearer. 

2. (/c\a<W<\'ne). Bearing a key ; 
an epithet given by the Romans to 
Janus, because he was supposed to 
be the guardian and overseer of all 
men's doors (Ovid. Fast. i. 228. 
Macrob. Sat. i. 9.) ; and by the 
Greeks to Cupid (Wink. Mon. Ined. 
32.), which implied that he had the 
power of opening and shutting the 
abodes of Love ; but more especially 
to Hecate triformis, as the goddess 
who kept the keys of Hades, and who 




is represented 111 Uie annexed engrav- 
ing, from a small bronze statue. 

CLAVIS (kAmc). A key adapted 
for opening a regular lock with 
wards, for raising a latch, or moving 
a mere bolt ; and including all the 
varieties in form, size, or use, of 
which the following illustrations af- 
ford examples : — 

1. A door-key ; made with regular 
wards, very like those now in use ; 




as shown by the example annexed. 



from an original found at Pompeii. 
These were of the largest description, 
and employed for fastening the gates 
of a city, the external doors of a 
house or other building, the cellars, 
store-houses, &c, and -were carried 
by the officers or slaves who had 
charge of such respective localities, 
suspended from the girdle round their 
waists ; — a purpose indicated by the 
tongue and eye in the preceding 
example. 

2. A small key, such as was kept 
by the mistress of the house ymater- 
familias), or used for locking 
up closets, armoires, trinket- 
cases, book or money-boxes 
(see Capsa, where the lock 
and hasp is shown), &c., like 
the example, from the Dacty- 
liothcca of Gorlaeus. Hor. Epist. 



20. 3. Id. Sat. ii. 



.46. 



3. Clavis Laconica. A particular 
kind of key, probably invented in 
Egypt, though the Greeks ascribe 
its origin to the Laconians ; sup- 
posed to be made with three teeth, 
like the example, from an Egyptian 
original preserved in the British Mu- 
seum. It was applied to the inside 
of the door by a person standing 
iai/ko2/t, who put his arm through a 



hole in the door made expressly for 
the purpose {clavi immittendce Jora- 
?)ien, Apul. Met. iv. p. 70.), and then 
raised the latch, which fastened it. 
by means of the projecting teeth. 
This interpretation, however, rnainly 
relies for its authority upon a passage 
in Plautus {Most. ii. 1. 57.) ; in 
which Thranio, who is standing out- 
side the house, and wishing to make 
it appear that the premises were no 
longer inhabited, locks the door on 
the . outside with the door-key which 
he held in his hand, and then orders 
the clavis Laconica to be given out 
to him, so that , no one could rain 



CLAVULUS. 



CLA VUS. 



175 



ingress or egress without his assist- 
ance. But the whole subject is still 



key, 
-inch 




very obscure and doubtful 

4. Clavis claiisa. A small 
made without any neck or lever 
as the example, from 
an original in the Dac- 
tyliotheca of Gorlaeus, 
and which, conse- 
quently, would only 
be used for raising 
latches, or in small 
locks which required 
but slight force to turn them ; and 
when introduced into the lock or 
door would be almost concealed by 
it. (Virg. Moret, 15.) But the in- 
terpretation, and. indeed the reading 
of the passage itself, is extremely 
doubtful. Some think the clavis 
rfausa and Laconica to be identical ; 
and Aristophanes {Tkesm. 422.) cer- 
tainly applies the epithet Kpyirra to 
the Laconian key with three teeth. 

5. Clavis adultera. A false or 
skeleton key. Sail. Jugt-irth. 12. 
Compare Ovid. Art. A mat. iii. 643. 

6. Clavis trochi (tXari/p). The 
stick used by Greek and Roman boys 
for trundling their 
hoops (Propert. iii. 14. 
6.) ; made of iron, with 
a hook at the end, or 
a round nob and bend 
in the neck, like the 
example, from a bas-relief of the Villa 
Albani. The epithet adunca, applied 
to it by Propertius (/. c), will suit 
either form. The manner of using 
the clavis, and the hook, is seen in the 
illustration to Trochus. 

CLA'VULUS. Diminutive of 
Clavus ; probably, also, a nail with- 
out a head (Cato, R. R. xxi. 3.) ; as 
clavulns capilatus (Varro, R. R. ii. 9. 
15.), a small-headed nail. 

CLAVUS [tj\oc)l A nail for fix- 
ing or fastening one thing to another. 
Many specimens of ancient nails, of 
various forms and sizes, of bronze as 
well as iron, are preserved in the 
Cabinets of Antiquities, resembling 
in most respects those now in use. 




The Latin expression for driving 
nail is clavum Jigere 
or pangere (Li v. vii. 
3.), and the act is 
shown by the figure 
annexed, which re- 
presents one of 
Trajan's soldiers 
making a stockade, 
the strength of which 
may be inferred from 
the immense size of 
the nail employed. 

2. Clavus trabalis, or tabularis. A 
nail of the largest description, such 
as was employed in building, for fast- 
ening the main beams (trades). Cic. 
Verr. vi. 21. Plor. Od. i. 35. 18. 
Petr. Sat. 75. 

3. Clavus annalis. The nail which 
was driven on the Ides of September 
in every year into the side-wall of 
the temple of Jupiter Capitolinus 
(Liv. vii. 3.) ; a custom which is re- 
ferred back to a very early period, 
and supposed to have been adopted as 
an expedient for reckoning the lapse 
of time before the use of letters was 
generally understood (Festus, s. v.), 
and subsequently 
retained out of re- 
ligious deference to 
old customs. The 
fragment here in- 
troduced represents 
the four sides of 
part of a large 
bronze nail, now 
of the Italian historian 
(Storia Univers. torn. i. p. 156. tav. 
9. A.), which, from the letters upon 
it, is believed to have been actually 
employed for the purpose described. 

4. Clavus muscarius. A nail with 
a large broad mushroom-shaped head 
(Vitruv. vii. 3. 1 1.), like the one re- 
presented under Bulla ; but larger 
and of coarser workmanship. 

5. Clavus caligaru. A sharp nail 
or spike, with which the soles of sol- 
diers' boots (caligcc) were furnished 
(Plin. H. N. ix. 33. Juv. iii. 247. Id. 
xvi. 24. Isidor. Qrig. xix. 34. 13.); the 




176 



CLA VUS» 




sharp ends projecting from the sole, 
as in our cricket shoes, 
in order to afford the 
wearer a firmer foot- 
ing on the ground. 
(Joseph. Bell. Jud. 
vh I. 7.) The exarii- 
ple introduced is given by Ferrarius, 
as copied from the arch of Constan- 
tine at Rome. He states that the 
spikes were clearly distinguishable in 
his time, but the artist who made the 
copy has certainly committed an error 
in leaving the toes exposed, for the 
caliga was a close boot ; see that 
word, and Caligarius. 

6. Clavus gubernaculi. The helm 
or tiller of an ancient rudder ; which 
was a cross-bar {fustis, Serv. ad 
Virg. s£n. v. 176.), fixed to the 
upper part of the handle (ansa) at 
right angles to it, so that it fell within 
the ship, and enabled the steersman 
to move his helm in the direction 
required. (Isidor. Grig. xix. 2. 12.) 




When the vessel was furnished with 
a rudder on each quarter, and suffi- 
ciently small to be managed by a 
single helmsman, he held a clavus in 
each hand ; but in heavy weather, or 
in larger vessels, each rudder had its 
own helmsman. The steerage was 
effected in both cases by raising or 
depressing the clavus, at the same 
time turning it slightly in or out, in 
order to give the blade of the rudder 
a less or greater resistance against 



the water ; an effect weii known to 
those who are accustomed to rowing, 
or steering with an oar ; and our own 
nautical phrases " helm up " and 
"helm dow7i" which still remain in 
use, though expressive of a very 
different operation, undoubtedly ori- 
ginated in this practice of the an- 
cients ; for in the Latin and Anglo- 
Saxon Glossary of vElfricus, the word 
clavus is translated helma, our helm. 
All these particulars are clearly illus- 
trated by the engraving, which repre- 
sents the after part of an ancient ship, 
on a bas-relief discovered at Pozzuoli. 

7. A stripe of purple colour woven 
into the texture of a piece of cloth, 
as an ornament, for wearing apparel, 
or for the linen employed in house- 
hold purposes, such as napkins, table- 
cloths, coverlets for couches, &c. 
Mart. Ep. iv. 46. 17. Pet. Sat. 32. 
2. Ammian. xvi. 8. 8. 

8. Clavus Latus. The broad stripe ; 
an ornamental band of purple colour, 
running down the front of a tunic, 
in a perpendicular direction immedi- 
ately over the front of the chest, the 
right of wearing which formed one 
of the exclusive privileges of a 
Roman senator, though at a later 
period it appears to have been some- 
times granted as a favour to indi- 
viduals of the equestrian order. 
(Hor. Sat. i. 6. 28. Aero ad Hor. 
Sat.}. 5. 36. Quint, viii. 5. 28. Fes- 
tus, s. v. Clavatus. Ovid. Trist. iv. 
10. 29. Plin. Ep. ii. 9.) As the 
clavus was a mere shade of colour 
woven up with the fabric, and, con- 
sequently, possessed no substance of 
its- own, it is not indicated upon any 
of the statues which represent persons 
of senatorial rank ; for the sculptor 
deals only with substantial forms ; 
and the Roman paintings which re- 
main to us are mostly imitations of 
Greek works, representing mytho- 
logical or heroical subjects, or other- 
wise scenes of common life. Conse- 
quently, we have no known example 

i of the broad senatorial clavus upon 
any existing monument ; but a fair 



CLA VUS. 



CLIBANUS. 



'77 



notion of its real character may be 
obtained from the annexed woodcut 
representing the Persian sarapis, as 




worn by Darius, in the Pompeian 
mosaic of the battle of Issus ; and 
which was decorated with a similar 
ornament, with the exception, that 
the stripe of the Persian kings was 
white upon a purple ground, that of 
the Roman senators purple on a white 
one. 

9. Clavus angushis. The 
stripe ; a distinctive badge 
equestrian order. (Pa- 
terc. ii. 88. 2.) It was 
of purple colour like 
the former, and also a 
decoration to the tunic ; 
but differed in char- 
acter, inasmuch as it (A 
consisted of two narrow 
stripes running parallel 
to each other down 
the front of the tunic, 
one on the right, and 
the other on the left 
side of the person ; 
whence the plural pur- 
pura (Quint, xi. 3. 138.) is some- 
times used, instead of the singular, to 
distinguish it. In paintings of a late 
period, this ornament is frequently 
met with, similar to that on the figure 
annexed, representing a Camillas in 
the Vatican Virgil. But at the 
period when such works were exe- 
cuted, it had ceased to be worn as 
a distinctive badge of rank : for it 
repeatedly occurs on figures acting 
in a menial capacity, such as cup- 
bearers and attendants at the table, 
who were usually attired in fine 
clothes, in the same way as an earlier 




I costume of this country has now 
{ descended to a " .livery* " 

CLEPSYD'RA (ic\tif/v5pa). An 
hour-glass, originally employed by 
the Greeks, and subsequently 
adopted at Rome, for the pur- 
pose of measuring the time al- 
lowed to each speaker in a 
court of law. (Plin. Ep. ii. ~ 
11.) These glasses were made of 
different sizes, according to the length 
of time for which they were required 
to run ; and did not differ materially 
from the modern ones, with the ex- 
ception of being filled with water 
instead of sand, as may be collected 
from the description of Apuleius 
{Met. iii. p. 44.), and stdl more 
from the example annexed, which is 
copied from a bas-relief of the Mattel 
palace at Rome. The one described 
by Aristotle {Probl. xvi. 8.) -was 
similar in principle, but had a sort of 
spout at the top for pouring in the 
water, which trickled out at the bot- 
tom through several small holes. 

2. Probably also a water-clock of 
sufficient size to run for a number of 
hours, and answer the purpose of a 
day and night clock ; the lapse of 
time being indicated by lines or 
spaces (spatia. Sidom A poll. Ep. ii, 
9.) described upon the globe from 
which the water escaped, or upon the 
reservoir into which it flowed. Pliny 
{H. N. vii. 60.) gives the name //oro- 
logium to a device of this nature. 

CLIBANA'RIL The name used 
to designate those of the Persian 
cavalry, whose horses, as well as the 
troopers, were covered with an entire 
suit of defensive armour (Ammian. 
xvi. 10. 8. Ilh 12. 22. Lamprid. Alex. 
Set'. 56.) ; compare Cataphractus, 
I. and illustration. 

CLIBANICIUS, sc. pants (irXf- 
(3ai>iTic). Bread baked in a clibanus. 
Isidor. Orig. xx. 2, 

C LI' BAN US (fc\i(3nvoc or K P i- 
fiavoc). A covered vessel, made 
wider at bottom than top (Columell. 
v. 10. 4.), and pierced all round with 
small holes (Dioscor. ii. Si. and 96.) ; 

M 



178 c Lime us. 

employed for various purposes, but 
more especially for baking bread. 
(Plin. H. N. xix. 3.) When, in use, 
it was enveloped in hot ashes, the 
warmth of which penetrated through 
the perforations in a more regular 
and even temperature than could be 
produced by the ordinary oven. The 
usual material was earthenware ; but 
when Trimalchio has his bread baked 
in a silver dibanus (Pet. Sat. 35. 6.), 
it is intended as an instance of ridi- 
culous ostentation. 

CLIN'ICUS {kXivikqc). A visiting 
physician, who attends his patients 
at the bed-side. Mart. Ep. ix. 97. 

2. A sick person confined to his 
bed. Hieron. Epist. 105. n. 5. 

3. Same as Vespillo ; who car- 
ried out the dead upon a bier or 
couch. Mart. Ep. iii. 93. Id. i. 31. 

CLI'NOPUS (/cXiz/tWf). The 
foot of a bedstead. (Lucil. ap. Ma- 
crob. Sat. vi. 4.) The ancient bed- 




steads w T ere commonly supported 
upon four legs, like our own, as in 
the illustration, from a Pompeian 
painting. 

CLIPEA'TUS (aawic^opog). 
Armed or furnished with the large 




CLIPEUS. 

round Grecian shield {clipeus), as 
shown by the example, from a Greek 
fictile vase. Virg. JEn. vii. 793. 
Ovid. Met. iii. no. Curt. vii. 9. 

2. Clipeatus dilamyde. Having the 
left arm covered with the cklamys 




instead of a shield (Pacuv. ap. Non. 
s. v. Clypeat. p. 87.), as represented 
by the annexed figure, from a fictile 
vase : in which manner Alcibiades 
is stated by Plutarch to have tried to 
protect himself in the combat when he 
lost his life. 

3. Clipeata imago. A portrait en- 
graved or painted upon a dipeus. 
{Cic. ap. Macrob. Sat. ii. 3.) See 
Clipeus, 3. 

CLIPE'OLUM {aoTvihoi). Dimi- 
nutive of Clipeus. Hygin. Eab. 
139- 

CLIP'EU S and CLIP'EUM 
(denric). The large round shield or 
buckler, more especially peculiar to 
the heavy-armed infantry of the 
! Greeks (Li v. ix. 19.) ; but also borne 
by the first-class men at arms 
1 amongst the Romans, from the time 
of Servius (Liv. i. 43. Dion Hal. iv. 
16., which passages also prove the 
| identity between the Latin dipeus 
j and Greek aoirit), until the period 
I when the citizens commenced re- 
ceiving pay for their military service, 
when the Scutum was substituted in 
its stead. (Liv. viii. 8.) In form it 
. was completely circular, but concave 
on the inside {cavus. Varro, L. L. 



C LIFE US. 



I 79 



v. 19. Compare Virg. Ain, in. 637.), 
with a circumference large enough to 




1 

reach from the neck to the calf of 
the leg (see the figure in Clipeatus, 
I.). It was sometimes made entirely 
of bronze (Liv. xlv. 33. ) ; but more 
commonly of several folds of ox-hide 
(Vh-g. sEn. xii. 925. mentions seven, 
Ovid. Met. xii. 97. ten), covered 
with plates of metal ; and occasionally 
upon a foundation of wicker-work 
(whence clipei iextum. Virg. sEn. 
viii. 625. and irea. Eurip. Suppl. 
697.), over which the folds of un- 
tanned leather and metal were spread. 
The illustration affords a front and 
side view of a Greek elipeus, from 
two fictile vases. 

2. Sub clipeo latere. Clipei sub 
orbe tegi. (Ovid. Met. xiii. 79. Virg. 
AZn. ii. 227.) A position often re- 
presented in works of art, in which 
the soldier kneels down, and places 
his shield upright before him ; by 
which his whole person is concealed, 
and covered from the attacks of his 
assailant ; in the same manner as 
shown by the figure which illustrates 
Venabulum. 

3. A shield or plate of metal, or 
other material, upon which the bust 
of a deity or portrait of a distin- 
guished person was carved in relief, 
or painted in profile as an honorary 
memento (Suet. Cal. 16. Tac. Ami. 
ii. 83.) ; a custom of very great an- 
tiquity, which owes its origin to the 
Trojans. (Plin. H. N. xxxv. 3. 
Compare Hor. Od. i. 28. II.) The 
illustration represents an original 



bronze clipei rs of this description, 




with a bust of the Emperor Hadrian 
upon its face. 

4. A shield or plate of similar 
character, made of marble or metal, 
but ornamented with other devices as 
well as portraits, which was used as 
a decoration, to be suspended in 
public buildings or private houses, 
between the pillars of a colonnade, 




in the manner represented in the an- 
nexed engraving, from a bas-relief in 
terra-cotta. Liv. xxxv. 10. 

5. An apparatus employed to re- 
gulate the temperature of the Laco- 
nicum or vapour- 
bath, which con- 
sisted of a hollow 
circular plate of 
metal, suspended 
by chains under an 
opening in the 
dome of the ceiling 
at the circular end 
of the thermal cham- 
ber (caldarium), and 
immediately over 
the labrum, by the raising or depress- 
ing of which, the temperature of the 
room was increased or lowered, as 
more or less of the cold air was 
permitted to enter, or of the hot air 
to escape. (Vitruv. v. 10.) The 
woodcut represents a section of the 




C LIFE US. 



CLOACA. 



Laconicum at Pompeii, a view of 
which in its present state is intro- 
duced under that word ; the squares 
at the bottom show the flues of the 
hypocaustum; the basin in the centre 
over the largest flue is the labrum ; 
and the clipeus, with the chain by 
which it was lowered or raised up, 
so as to close the aperture in the 
ceiling above it, is an imaginary 
restoration, in order to elucidate the 
manner in which the apparatus acted ; 
but the bronze stays for fastening 
the chains by which the clipeus 
was worked, were found affixed to 
the sides of the wall. It must not, 
however, be concealed that the posi- 
tive nature of the clipeus is a point 
involved in much uncertainty, and 
that many scholars, relying upon a 
picture in the 
Thermae of 
Titus (repre- 
sented by the 
annexed en- 
graving) main- 
tain that the 
Laconicum was 
the small cu- 
pola here seen 
rising from 
the floor of 
the chamber, 
which permit- 
ted a volume 
of flame and hot air to raise itself 
above the general level of the apart- 
ment ; and that the clipeus, which 
regulated the temperature by admit- 
ting or shutting off the heat, was 
placed, as in the cut, under this cu- 
pola, and just over the hypocaust. 
But it is difficult to conceive how the 
apparatus could have been worked in 
such a situation, as both the clipeus 
and the chains for raising it would 
have become intensely hot from their 
proximity to the fire ; besides, nothing 
bearing even a remote resemblance 
to such a construction has been dis- 
covered in any of the ancient baths, 
and the account of Vitruvius (/. c.) 
describes almost minutely a similar 




disposition to that observable in the 
circular extremity of the thermal 
chamber in the Pompeian baths. 
As both the plans are introduced the 
reader has the means of judging for 
himself. A long array of names 
favours each side of the argument. 

CLITEL'L/E {icav67]\ta). The 
pack-saddle upon which panniers were 




carried ; and thence also a pair of 
panniers ; whence only used in the 
plural number. (Hor. Sat i. 5. 47. 
Phaedr. i. 15.) The illustration is 
from an engraved crystal in the 
Florentine Gallery. 

CLITELL'ARIUS («-ar0//X lO c). 
A beast which carries panniers, as in 
the preceding illustration. Cato, 
A\ R. x. 1. Columell. ii. 22. 3. 

CLOA'CA {bitovofior). A large 
subterranean canal, constructed of 
masonry or brickwork, for the pur- 
pose of carrying off the rain water 
from the streets of a town and the 
impurities from private houses, which 
were discharged through it into some 
neighbouring river, thus answering 
to our sewer and drain. (Liv. i. 38. 
Cic. Ccecin. 13. Hor. Sat. ii. 3. 242. 
Strabo, v. 8. p. 197. ed. Siebenk.) 




The illustration represents a street 
view in Pompeii, with the embouch- 
ures of two drains under the pave- 



CLOACA. 



CLUXARULUM. 



merit, and shows the manner in which 
the rain water entered them. 

2. Cloaca Maxima. A main seze/er, 
which received the contents of several 
tributary branches, and conducted 
them in one channel to the river. 
But the name is also specially given 
to the great sewer of Rome, which 
was made by the elder Tarquin for 
the purpose of draining off the stag- 
3iant waters of the Velabra, and low 
lands between the Palatine and Capi- 
toline hills, in order to provide an 
area for laying out the race-course, 
or Circus Maximns, and the Forum. 
A considerable portion of this great 
work is still in existence, after a lapse 
of more than 2000 years. It consists 
of three concentric arches of masonry, 
put together without cement, and in 
the style called Etruscan, as shown 
bv the annexed elevation, which re- 




presents the embouchure where it 
opens upon the Tiber, near the Sub- 
lician bridge, and part of the adjacent 
wall, which formed the substruction 
of the quay termed pulchrum littus. 
The smallest, or innermost arch, is 
between 13 and 14 feet in diameter ; 
each of the blocks composing the 
arch is 5 feet 10 inches wide, and 
rather more than 3 feet 3 inches 
high ; the whole being composed of 
the dark volcanic stone {tufa Litoide. 
Brocchi, Suolo di Roma.), which 
forms the basis of the Capitoline hill, 
and was the common building mate- 
rial during the periods . ascribed to 
the early kings. A design showing 
the construction of the underground 
part is exhibited at p. 41. s. Ante- 



RIDES. Plin. 77. N. xxxvi. 24. 3. 
.Dionys. iii. 67. 

CLOACA'RIUM. The sewers- 
rate; a tax which was levied for the 
expenses of cleansing and repairing 
the sewers. Ulp. Dig. 7. 1. 27. 
Paul. Dig. 30. 39. 

CLOA'CULA. Diminutive of 
Cloaca ; a branch sewer communi- 
cating with the main duct. Lamprid. 
Heliog. 17. 

CLOSTEL'LUM. Diminutive of 
Clostrum. Either the key-hole of 
a lock ; or, perhaps, the box-hasp 
into which the bolt of a lock shoots ; 
and which would leave a crevice 
between itself and a door which did 
not fit close, so that a person might 
see through it, as mentioned by Pe- 
tronius, Sat. 140. 11. Compare Senec. 
Ben. vii. 21. 

CLOSTRUM. For Claustrum. 
In a general sense, any fastening like 
a lock (Cato, A'. R. xiii. 3. Id. cxxxv. 
2.) ; but, more definitely, the box 
into which a lock shoots. Senec. 
Ben. vii. 21. 

CLU'DEN. A sword used by 
actors upon the Roman stage, the 
blade of which receded into the 
handle immediately upon meeting 
with any resistance, and so produced 
the effect of stabbing without danger. 
(Apul. Apol. p. 526.) A device of 
the same kind is resorted to by mo- 
dern actors ; but the reading in Apu- 
leius is not certain, and the interpreta- 
tion is conjectural. 

CLUNAB'ULUM or CLUNAC- 
ULUM. A small sword, or rather 




dacscen so called because it was 



182 



CLYSTER. 



COCHLEA. 



worn at the back, just over the but- 
tocks (dunes), as shown in the an- 
nexed example, from the Column of 
Trajan. Aul. Gell. x. 25. Isidor. 
Orig. xviii. 6, 6. 

2. The same name was also given 
to the knife of the Cultrarius, with 
which he ripped up 
the entrails of vic- 
tims at the sacri- 
fice (Festus, s. v. ) ; 
and which was 
carried in the same 
manner by a strap 
round the loins, as 
shown by the an- 
nexed figure, repre- 
senting one of these 
servants, from a 
Pompeian painting. 

CLYSTER (kXuottip). A syringe; 
especially such as was used for in- 
jecting fluids into the body. Suet. 
Claud. 44. Plin. H. N. xxxi. 33. 

CLYSTE'RIUM { K \var>ipwi>). 
Diminutive of the preceding. Scrib. 
Compos. 118. 

CNODAX {kvwSuK). A pin or 
pivot, affixed to the extreme ends of 
an axle or cylinder, and run into a 
socket, so as to form a support which 
will enable the axle to revolve. Vi- 
truv. x. 2. 12. 

CO A VESTIS. The Coan robe : 
which was of the finest texture, and 





almost transparent ; so that the forms 
of the wearers were readily apparent 



through the drapery, which only par- 
tially concealed them. It was, there- 
fore, chiefly worn by females ad- 
dicted to pleasure, such as singing 
and dancing girls, one of whom is 
represented in the engraving, from a 
Pompeian painting. Plin. H. N. xi. 
26. Propert. iv. 5. 55. Ov. A. Am. 
ii. 298. Hor. Sat. i. 2. 101. 

COAC'TILIS, sc. /ana (ttiKt^toq or 
ttiXutoc). Felt or felted cloth ; that 
is, wool matted together by repeated 
manipulation and pressure until it 
acquires a consistent texture, like a 
piece of cloth. Plin. FT. N. viii. 73. 
Edict. Dioclet. p. 21. Ulp. Dig. 34, 
2. 26. 

COACTO'RES (irpaKToptg). Re- 
ceivers or collectors of taxes, duties, 
&c. Cic. Rab. Post. II. Hor. Sat. 
i. 6. 86. 

2. The rear-guard of an army, or 
the body of troops who brought up 
the rear in a line of march. Tac. 
Hist. ii. 68. 

COAC'TUS. Same as Coactilis. 
Plin. H. N. viii. 73. Cses. B. C. iii. 44 

COAG'ULUM {-rrvtrio). Rennet; 
i. e., anything used in curdling milk ; 
for which the concreted milk found 
in the stomachs of suckling animals, 
the milky moisture contained in the 
stomach of a pig, as well as the 
stomach itself, and vinegar, was com- 
monly employed by the Romans. 
(Varro, R. R. ii. 11. 4. Plin. H. N. 
xxiii. 63.) Hence, also, curdled milk 
(Plin. H. N. xxviii. 45.) ; and cheese. 
Ovid. Fast. iv. 545. 

COASSA'TIO (rraviSwfw). Any 
thing made of boards joined together, 
as the flooring of a house (Vitruv. 
vi. 6.), or the deck of a ship, Theo- 
phrast. in Oxford Lex. 

COCH'LEA («ixXi«ff). Literally, 
a snail with a spiral shell ; whence 
applied to several other objects par- 
taking of a spiral form ; as — 

I. A worm and screw, as a mecha- 
nical power, employed in oil, wine, 
and clothes presses, precisely in the 
same manner, and formed upon 
similar principles to those now in 



COCHLEA. 



COCHLEARIUM. 1 83 



daily use, as shown by the annexed 



LI 



woodcut, represent- 
ing a press for cloth, 
from a painting in 
the fuller's estab- 
lishment {fullonica), 
at Pompeii. Vi- 
truv. vi. 9. Plin. 
H. N. xviii. 74. Pal- 
lad, iv. 10. 10. Id. xi. 9. 1. 

2. A contrivance for raising water, 
upon the principle of a screw, in- 
vented by Archimedes, and similar 
to the machine still to be seen in 
Germany, which goes by the name 
of the " water snail." It consisted of 
a long cylinder, with a hollow pipe 
coiled round it, like the thread of a 
screw ; was placed in an oblique 
direction, with the lowest end in the 
water, and then made to turn round 
its own axis by the operation of 
cattle, or of a tread-wheel {tympa- 
num) ; as it revolved, it gradually 
turned the water up through the 
coils of the pipe from the lowest to 
the topmost spiral, from which it ran 
out, as having nothing further to 
support it. (Vitruv. x. 6.) It is 
also mentioned by Strabo (xiii. 30. 
p. 561. ed. Siebenk.), as being used 
in Egypt, where it was worked by 
slaves, and employed for the purpose 
of irrigation ; indeed, a pump of this 
description will only raise water to a 
moderate height. 

3. A particular kind of doorway 
adapted for a bull-ring, aviary, and 
places of such description (Varro, 
R. R. iii. 5. 3.), where it was requisite 
that all who entered or went out 
should be enabled to do so with ra- 
pidity and security ; in order that the 
animals might not escape with the 
opening of the door, while the person 
inside might retreat with safety upon 
any sudden emergency. Schneider 
(Index, R. R. Script, s. v. Cavea) 
considers this to have been a door 
-raised and lowered after the manner of 
a portcullis, synonymous, therefore, 
with Cataracta ; but his proofs 
are far from conclusive, and the old 



interpretation of Gesner is more in 
unison with the other analogies of the 
word ; viz., an apparatus like the one 
now commonly used in the foundling 
hospitals and convents of nuns in 
Italy for the purpose of introducing 
anything into the interior, without 
opening a door, and which goes by 
the name of " the wheel," la ruota. 
It is constructed upon the same prin- 
ciple as a dark lantern, consisting of 
a cylindrical box, situated in the 
thickness of the main wall, and made 
to revolve round an upright axis 
which runs through its centre, and 
fixes it in its place. An aperture is 
left on one part of the circumference, 
through which, when turned to the 
street, the objects intended to be in- 
troduced are placed in the box, which 
is then pushed half round its axis, 
when the opening comes on the inside 
of the wall. It is obvious that such 
an apparatus would be particularly 
adapted for any of the purposes above 
mentioned to which the cochlea was 
put ; and the name may have been 
obtained from the resemblance which 
such a contrivance bears to a snail 
within its shell, or to the spiral stair- 
case {cochlis) within its case. 

COCH'LEAR and COCHLE- 
A'RE {Kox^iapior). A spoon with 
a bowl at one end, and a sharp point 
at the other, for eating eggs and 



shell -fish (Mart. Ep. xiv. 121.); 
the broad end serving as an egg- 
spoon (Pet. Sat. 33. 6.), and the 
point for drawing the fish out of its 
shell. (Plin. H N. xxviii. 4.) The 
example represents an original found 
in Pompeii. 

2. A measure of liquids ; answer- 
ing to our spoonful. Columell. xii. 

21. 3. 

C O C PI L E A' R I U M. A place 
where snails were bred and fattened ; 
which were considered as a delicacy 
by the Roman epicures, being im- 
ported from different parts, to be 



184 



COCHLIS. 



COEMPTIO. 



reared and fed in these home nurse- 
ries. (Varro, R. R. iii. 12. 2. Ib. 
14. 1. Plin. H. N. ix. 82.) The 
ridiculous Trimalchio has them 
served up to table upon silver grid- 
irons. Pet. Sat. 70. 7. 

COCFI/LIS. See Columna, 2. 

COCTILIS, sc. later. A brick 
hardened by burning, as contradis- 
tinguished from one dried by the sun. 
Varro, R. R. i. 14. Plin. H. N. vii. 57. 

2. Murus coctilis. A wall built of 
bricks hardened by the fire. Ovid. 
Met. iv. 58. 

3. C act ilia or Coda ligna (£r\a 
KayKctva). Dried or scorched wood, 
chopped into small pieces, and pre- 
pared by hardening over the fire 
sufficiently to dry up the moisture 
contained in it, without reducing it 
to charcoal (Ulp. Dig. 32. 55.), in 
order that it might burn readily and 
briskly, and not throw out a quantity 
of smoke. It was sold by measure 
Valerian, ap Trebell. Claud. 14 ), 
and not by weight like, other kinds 
of fire- wood, in particular ware- 
houses at Rome, called taberncc cocti- 
licice ; and the preparing, as well as 
the selling of it, was a particular 
trade, to which, as we are told, the 
father of the Emperor Pertinax be- 
longed. Jul* Cap. .Pertinax, 3. 

COCTUS. Same as Coctilis. 

COC'ULUM. Apparently, a ge- 
neral term given to any kind of 
saucepan for boiling meats. Festus, s. 
v. Isidor. Grig. xx. 8. Cato, R.R. xi. 2. 

CO'DEX. A clog,, or heavy log 
of wood, chained to the feet of slaves 
which they dragged about with them, 
and were made to sit upon. Juv. ii. 
57. Prop. iv. 7. 44. _ 

2. A blank book for writing in, 
made up of separate leaves bound 
together, like our own, 
as is shown by the Mf'^M^'M 
annexed example, from 
a Pompeian painting. 
Originally, the leaves 
were made of thin tablets of wood 
(codices i . q. candices), coated with wax, 
whence then-ame arose, and which was 




still retained in use, although the origi- 
nal material had been superseded by 
paper or parchment. Ulp. Dig. 32. 
50. Cic. Verr. i. 36. Id. Still. 15. 

3. At a later period, the word also 
means a code of laws, as the Codex 
fustinianus, Theodosianus, &c, which 
it may be assumed were written in 
books of this description. 

CODICIL'LUS. Diminutive of 
Codex. But in the plural, Codi- 
cilli were a collection of small tab- 
lets employed for writing memoran- 
dums (Cic. Fain. ix. 26.), intended to 
be copied out fairly afterwards ; to be 
despatched as letters to intimate friends 
(Cic. Fam. vi. 18.) ; for noting 
down the particulars of a will (Plin. 
Ep. ii. 16.); of a petition or me- 
morial (Tac. Ann. iv. 39.), and other 
similar purposes. 

CCLL'UM (ovpavbg). A soffit, or 
ceiling. (Vitruv. vii. 3. 3. Floras, iii. 5. 
30. and ccelum capitis, the nether part 
of the skull, Plin. //. A T . xi. 49.) The 
earliest buildings were only covered 
by an outer roof (tectum), the inside 
of which served as the ceiling ; but 
as that was found to be an insufficient 
protection against the changes of 
weather and temperature, an inner 
one was afterwards contrived, which 
constituted the ccelum, and gave rise 
to an extra member in the entabla- 
ture, denoted externally by the zo- 
phorus ox f rieze. 

CCEMETE'RIUM {mifirjT^Hov). 
A Greek word ; properly signifying 
a sleeping chamber (Dosiad: ap. 
Athen. iv. 22.) ; whence used by the 
Latin writers of a late period for, a 
cemetery. Tertull. Anim. 51. 

COEMPTIO. A marriage by civil 
contract, solemnised by a fictitious 
sale, at which the parties betrothed 
went through the ceremony of mu- 
tually selling themselves to one an- 
other, and supposed to have first 
come into use when intermarriages 
between the patrician and plebeian 
families became lawful. A. u. c. 308. 
Cic. Muret. 12. Non. Marc. s. v. Nu- 
bentes, p. 531. .. 



i CCENA* 

CQi'NA (copnov in the Homeric 
age; Snirvor subsequently, and in Attic 
Greek). The principal daily meal of 
the Greeks and Romans ; and, conse- 
quently, better translated by our word 
dinner than supper, which is more com- 
monly applied. It was the third meal 
taken in the day, i. e. after the break- 
fast {jentaculum) and the luncheon 
{prandium or merenda), the most usual 
hour being about 3 P. M. of our time ; 
though the particular habits of different 
individuals might induce some to dine 
at an earlier, and others at a later hour. 
Plant. Cic. Petr. Suet.,. &c. 

2. Prima, altera, tertia ccena. The 
first, second, or third remove of 
dishes, or courses at a dinner. Mart. 
Ep. xi. 31. 

CCENAC'ULUM. An eating- 
room, according to the original and 
strict meaning of the word (Varro, 
L. L. v. 162.) ; but, as the apartment 
appropriated for that purpose was 
usually situated in the upper part of 
the house, at one period of Roman 
history, the word came to be used 
much more commonly in our sense of 
a room tip-stairs (Festiis, s. v. Liv. 
xxxix. 14.), and the plural ccenacula 
(like the Greek inrep^ov) to designate 
the whole suite of rooms contained in 
an upper story (Cic. Agr.\\. 35.) ; and, 
as the upper stories at Rome were 
chiefly occupied by the poorer 
classes, a sense of inferiority is fre- 
quently implied by the term, so that 
our words attics or garrets would in 
such cases furnish the most appro- 
priate translation. (Hor. Ep. i. 1. 




91. Juv. x. 17) The annexed . ex- 
ample, from a Roman painting, ex- 
hibits the external appearance of the 



CONORS. 185 

ccenacula ; and the two last illustrations 
to the article Domus, which represent 
the plan and elevation of a two-storied 
house excavated at Herculaneum, 
will show the manner of building 
and distributing the apartments of an 
upper story in private houses of 
a moderate size. 

2. Ca'naculum me? it or in ?n. A hired 
lodging, in an upper story. Suet. 
Vitell. 7. 

CGENATIO. Seems to be a ge- 
neral term, applied to any kind of 
eating-room ; as well to the sumptuous 
banqueting-halls of the golden palace 
of Nero (Suet. Nero, 31.), as to the 
ordinary dining- par I our of Pliny's 
villa. (Plin. Epist. ii. 17. 10. v. 
6. 21.) Like the ca'naculum, it was 
situated up-stairs (Juv. vii. 183. 
Mart. Ep. ii. 59.) ; and in this respect 
differed from, triclinium, which, in the 
Pompeian houses, is always placed 
upon the ground-floor. 

CCENATO'RIA, i. e. ccenatorice 
vestes. The garments or apparel 
worn at the dinner table (Per. Sat. 
21. 5. Mart., x. 87. Capitol. Maxim. 
Jm. 4.) ; the precise character of 
which has not been ascertained; but 
one of them went expressly by the 
name of Synthesis,, which see. 

CCENOBTTA. Late Latin; one 
who lives in a community (cceno- 
bium) with others ; thence a monk or 
friar. Hieron. Ep. 22. n. 34. and 
35- 

CCENOB'IUM {KoivojSiov). A 
monastery,' or convent of monks or 
friars ; because they live together in 
common. Hieron. Ep. 22. n. 36. 

CO'HORS. Same as Chors. 
Varro, R. R. iii. 3. Ovid. East. iv. 704. 

2. A cohort, or body of infantry 
soldiers, constituting the tenth part of 
a legion, but which varied in numbers 
at different periods of the Roman 
history, according as the legion 
itself was increased in 1 numerical 
strength. Varro, L. L. v. 88. Cin- 
cius, ap. Gell. xvi. 4. 4. Cass. B. G. 
iii. I. 

• 3. The term is sometimes used to 



i86 



CO HUM. 



C0LL1CIARIS. 



distinguish the allied and auxiliary 
troops from those of the legion ; by 
which it is inferred, that in early 
times such troops were arranged in 
cohorts instead of maniples. Florus, 
iii. 21. Liv. ii. 64. Id. xxiii. 14. 

4. Also, in some cases, for a troop 
or squadron of cavalry, but of what 
precise number is uncertain. Plin. 
Ep. x. 106. Virg. sEn. xi. 500. 

5. Pretoria cohors A body of 
picked men, selected from the legion- 
aries, who formed a sort of body- 
guard to the consul, or command er 
under the republic ; but became a 
permanent corps du garde under the 
emperors. See Pr^torianus. 

CO'HUM. The rope or thong by 
which the yoke ( juguni) is fastened 
to the pole {temo) of a plough. (Fes- 
tus, s. v.) It is very distinctly seen 
in the annexed example, from a bas- 




relief discovered in the island of 
Magnesia. 

COLIPHTUM. A sort of food 
upon which wrestlers and persons in 
training for athletic exercises were 
dieted, in order to increase their 
muscular development, without add- 
ing superfluous flesh, upon the same 
principle as still pursued by our 
prize-fighters, &c. What the Roman 
coliphia were is not distinctly known ; 
but they are generally supposed to 
have been a kind of bread cake, 
without leaven, and mixed with new 
cheese. Piaut. Pers. i. 3. 12. Juv. ii. 
53. Schol. Vet. ad I. Mart. vii. 67. 12. 

COLLA'RE (7rspi5kpaiov). An iron 
collar put round the neck of runaway 
slaves, with a leading chain {catulns) at- 



tached to it, like a dog's chain and 
collar. (Lucil. Sat. xxix. 15. ed. 
Gerlach. Lucian. Lexiph. 10.) Prison- 




ersof warweresometimes treated in the 
same way, as may be seen by the illus- 
tration, representing a barbarian cap- 
tive, from the Column of Antoninus. 

2. A dog's collar. (Varro, R. R. 
ii. 9. 15.) The example is from a 




mosaic pavement in one of the houses 
at Pompeii, and represents a watch- 
dog, with his collar and chain at- 
tached. 

COLLICT^ or COLLIQ'UIiE. 
Gutters, made with concave tiles, 
placed under the eaves of a house, 
for the purpose of carrying away the 
rain water from the roof, and con- 
ducting it into the impluvium. Fes- 
tus, s. Inlicium. Vitruv. vi. 3. 

2, Open drains or gutters in the 
country, for the purpose of carrying 
away the rain water from the lands 
into the ditches (fossce). Plin. H. N. 
xviii. 49. n. 2. Columell. ii. 8. 3. 

COLLICIA'RIS, sc. tegula. A 



COLLTPHIUM. 



COL UM. 



I8 7 



drain tile, for making collicice. Cato, 
R. R. xiv. 4. 

COLLIPH'IUM. See Coli- 

PHIUM. 

COLLIQ'UI^. See Collicle. 

COLLUVIA'RIUM. A sort of 
well or opening formed at certain 
intervals in the channel of an aqueduct, 
for the purpose of procuring a free 
current of air along its course ; and 
also, perhaps, to facilitate the ope- 
ration of clearing away any foul de- 
posits left by the waters, by affording 
a ready access to every part of the 
duct. Vitruv. viii. 8. 6. 

COLLYBIS'TES or COLLY- 
BIS'TA {KonvpioTw). A Greek 
word Latinised ; a money - dealer. 
Hieron. Comment. Matth. c. 21. 

COL'LYBUS {mWvfioc). Pro- 
perly, a Greek word, meaning a small 
coin ; whence it came to signify, both 
amongst the Greeks and Romans, the 
difference of exchange, or agio, as it is 
called, charged by the dealer for 
changing the money of one country 
into the currency of another. Cic. 
Att. xii. 6. Id. Verr. ii. 3. 78. 

COLLY'RA (KoWvpa). A sort qf 
bread or bun, of an oval form, which 
was eaten with broth or with gravy. 
Plaut. Pers. i. 3. 12. Compare lb. 
15 and 17. 

COLLY'RIS [KoWvpic). Same as 
Collyra. Augustin. de Gent. 

2. A head-dress worn by women, 
and supposed to have received its 
name from some resemblance in form 
to the bread or bun designated by the 
same term. (Tertull. Cult. Fcem. 7.) 
In a Pompeian painting (Mus. Borb. 
vi. 38.), there is represented a plate 
of bread or buns divided into separate 
segments of precisely the same form 
as those which appear on the head- 
dress worn by Faustina on an en- 
graved gem (see the woodcut s. 
Caliende.um) ; such a coincidence 
favours the conjecture that the paint- 
ing affords a genuine example of 
the kind of bread, and the gem of 
the peculiar head-dress which went 
under the same name. 




COLLY'RIUM {KoWvptor). A 
medical substance made up into the 
shape of a collyra, composed of various 
ingredients, according to the nature 
of the remedy required, and applied 
externally for rubbing the parts af- 
fected, or for inserting into any hol- 
low, such as the nostrils, &c. Celsus, 
v. 28. 12. Hor. Sat. i. 5. 50. Scrib. 
Comp. 142. Columell. vi. 30. 8. 

COLOBTUM (ko\6(3ivv). A tunic 
with short sleeves (from the Greek 
ico^ofioc, docked or 
curtailed), which 
just covered the 
upper and fleshy 
part of the arm 
(Serv. ad Virg. 
Ai.n. ix. 616.), as 
shown by the an- 
nexed example, 
from the Column 
of Trajan. Thi 
was the original 
and usual form of 
the tunic w orn by the Romans of the 
republican age, at home, or in active 
exercise, as here represented, without 
any other garment ; but abroad, or 
when in costume, as we might say, 
the toga was thrown over it. 

COLO' NIC A. A farm-house. 
Auson. Ep. iv. 6. 

COLO'N U S. A yeoman or 
farmer ; i. c., one who gains a liveli- 
hood by the cultivation of the soil, 
whether as a tenant farmer, or one 
who tills his own land. Varro, R. R. 
ii. Proem. 5. Columell. i. 7. Scaevola. 
Dig. 33. 7. 20. 

2. A colonist. Cic. A". D. iii. 19- 
Justin, xvi. 3. 

COLOS'SUS (koUoool). A statue 
of gigantic dimensions, or very much 
beyond the proportions of nature ; 
such, for instance, as the Colossus at 
Rhodes, which was above seventy 
feet high. Hygin. Fab. 233. Fes- 
tus, s. v. Plin. H. N. xxxiv. 18. 

COLOSTRA (Plin. H. N. xi. 96. 
Mart. Ep. xiii. 38.) ; only another 
name for Coagulum. 

CO'LUM (*?fyi6( ). A colander, or 



•]88 CQ LUMBAR, 



COLUMBARIUM. 





strainer made of basket -work, bul- 
rushes, bast, 
or osiers (Ca- 
to, R. R. xi. 2. 
Columell. xi. 
2. 70. Id. xii. 
19. 4.), and in 
the form of an 
inverted cone, 
through which new made wine and 
oil (Columell. xii. 38. 7. Scrib. 
Camp. 156.), was passed, after it had 
been squeezed out by the press beam. 
(Virg. Georg. ii. 242.) The example 
introduced is copied from a Roman 
bas-relief, representing various pro- 
cesses connected with the vintage. 

2. Colam niv&riuni. A wine 
strainer made of metal, for cooling, 
diluting, and mixing the wine with 
snow at table. (Mart. Ep.xiv. 10: 
It was used in 
the following 
manner. A 
lump of frozen 
snow being 
deposited in the strainer, and the 
strainer being placed upon the drink- 
ing cup, the wine was then poured 
upon the snow, with which it mixed 
itself, and filtered into the cup, 
through the perforations of the 
strainer, free from any sediment or 
impurities. The example represents 
an original of bronze discovered in 
Pompeii. 

3. A basket for catching fish, like 
an eel or prawn basket ; so termed, 
because when .taken up, the water 
drains out of it, leaving the fish at 
the bottom, like the dregs in a 
strainer. Auson. Ep. iv. 57. Com-, 
pare Nassa. 

COLUM'BAR {TTsvreuvpiyyog), A 
contrivance, some- 
thing like the pillory, 
for confining the 
hands and head 
(Plaut. Rud. iii. 5. 
60.) ;-so termed from 
the resemblance 
which the apertures 
throuch which these 




parts projected, bore to the holes for 
nests in a dove-cot {columbarium). It 
was employed . for the punishment of 
slaves, and, in all probability, resem- 
bled the " wooden collar " of the Chi- 
nese, which is represented in the 
annexed engraving, from a drawing 
by Staunton. The Greeks made use 
of a similar contrivance (Ar. Eq. 
1049.), with five holes, through which 
the head, arms, and legs weie 
passed. 

COLUMBA'RIUM {irtpioTtpwv) 
A dove-cot or pigeon- house ; which 
probably differed very little from 
I those of the present day, with the 
I exception of being frequently built 
upon a much larger scale ; for as 
many as five thousand birds were 
sometimes kept in the same house. 
Varro, R. R. iii. 7. Pallad. i. 24. 

2. Columbaria (plural) ; the pigeon- 
holes, or separate cells in the cot for 
each pair of birds. Varro, R. R. iii. 
7. 4. and II. Columell. viii. 8. 3. 

3. Columbaria (plural) ; the niches 
or pigeon-holes in a sepulchral cham- 
ber, in which the ashes of the dead 
contained in jars {ollce) were depo- 
sited. (Inscript. ap. Spon. Miscell. 
Er. Ant. 19. p. 287. Ap. Fabretti, 
p. 9.) Each of these were adapted 
for the reception of a pair of jars, 
like doves in their nests, as exhibited 
by the annexed illustration, copied 
from a sepulchral .vault near Rome. 
The lids of the jars are seen above, 
and the names of the persons whose 




C IVLXVS . CAE SARIS \ fi"RA T 

L-DEMETK1VS j GEMflI.1 

ashes they contained are inscribed 
underneath, against the face of the 
wall, into which the jars themselves 
are sunk. All the four walls of the 
sepulchre were covered with niches 
of this description, which sometimes 
amounted to one hundred and more 
See Sepulcrum commune, and illus- 
tration. 

4. Columbaria, plural (TpvTrrjfia-a). 



COLUMBARIUM. 



COL UMNA. 



The oar-ports, through which the 
oars projected from the inside of a 
vessel (Isidor. Orig. xix. 2. 3. Com- 
pare Festus, s. Navalis Scriba) ; so 
called because they re- 
sembled the niches in =^S^|fP^ = 
a dove-cot, as plainly Iff flj 
shown by the illustra- 
tion, representing two oar-ports on 
the side of a vessel, in the Vatican 
Virgil. This also accounts for the 
meaning of the word columbarius in a 
fragment of Plautus, where it signifies 
a rower, accompanied with a senti- 
ment of depreciation. 

5. Cohimbaz ia, plural (curat). The 
cavities or holes in the walls of a 
building which form a bed for the 
heads of the tie-beams (tzgna) to lie in. 
(Vitruv. iv. 2. 4.) See the illus- 
tration to Materiatio, letters d, d, d. 

6. Columbaria (plural). Openings 
formed in the axle of a particular 
description of tread-wheel (tympa- 
nzim), for raising water. The axle 
in question was a hollow cylinder, 
and the water raised by the revolu- 
tions of the wheel was conveyed into 
the axle through the-e npertures, and 



then discharged from its extremity 
into the receiving trough (Vitruv. 
x. 4.) ; but the whole process will be 
better understood by a reference to 
the article Tympanum, 5. 

COLUMEL'LA {<ttv\,c). A ge- 
neral diminutive of COLUMNA. 

2. (oTt)\(dioi-.) A small cippus, or 
short pillar, erected over a grave as a 
tomb-stone. Cic. Leg. ii. 26. 

3. Coln?nella ferrea. A strong iron 
pin or bolt, forming part of the tra- 
petum, or machine for bruising olives. 
(Cato, 7?. A', xx. 1. Id. xxii. 2.) See 
Trapetum, and the illustration, on 
which it is marked by the figure 4. 

COL'UMEN. The highest timber 
' in the frame-work of a roof, forming 
; the ridge piece to the whole. (Vi- 
! truv. iv. 2. 1.) See Materiatio. 
i and the illustration, on which it is 

marked b, b. 
I COLUM'NA (tciwr, <m~Aoc). A 
| colzimn, employed in architecture to 
j support the entablature and roof of 
! an edifice. It is composed of three 

principal parts : the capital {capi- 
! tuluvi) ; the shaft (sca/zes) ; and the 
I base (spira). The column was, 



190 



COLUMN A. 



moreover, constructed in three prin- 
cipal styles or orders, each possessing 
characteristic forms and proportions 
of its own, distinctive of the order, 
but by unprofessional persons most 
readily distinguished by the difference 
in the capitals. I. Dorica, the Doric, 
shown by the engraving, representing 
a view of the Parthenon, from Gwilt's 
" Encyclopaedia of Architecture," the 
oldest, most substantial, and heaviest 
of all, which has no base, and a very 
simple capital (see Capitulum, i. 
and 2.). 2. louica, the Ionic ; the 
next in lightness, which is furnished 
with a base, and has its capital de- 
corated with volutes (see Capitulum, 
3. and 4.). 3. Corinthia, the Corin- 
thian, the lightest of all, which has a 
base and plinth below it, and a deep 
capital ornamented with foliage (see 
Capitulum, 5. ). To these are some- 
times added : — 4. Tuscanica, the 
Tuscan, only known from the account 
of Vitruvius, and which nearly re- 
sembles the Roman Doric ; and 5. 
Composita, the Composite, a mixed 
order, formed by combining the 
volutes of the Ionic with the foliage 
of the Corinthian. 

This most perfect and most beauti- 
ful of all architectural supports origi- 
nated, as is generally the case, from 
the simplest beginnings. A few 
strong poles, or the straight trunks 
of trees, stuck into the ground, in 
order to support a cross-piece for a 
thatch of boughs or straw to rest 
upon, formed the first shaft (scapzis) 
of a column. When a tile or slab of 
wood was placed under the bottom of 
the trunk to form a foundation, and 
prevent the shaft from sinking too 
deeply into the ground, the first 
notion of a base (spira) was attained ; 
and a similar one, placed on its top, 
to afford a broader surface for the 
cross-beam or architrave to rest upon, 
furnished the first capital. Thus 
these simple elements, elaborated by 
the genius and industry of succeeding 
ages, produced the several distinctive 
properties of the architectural orders. 



To explain the peculiar properties 
belonging to each order of columns 
is rather the province of the archi- 
tect, than of a work of this nature ; 
for it would require large drawings 
and minute details, scarcely requisite 
for the classical student or general 
reader. One point, however, is 
to be constantly borne in mind, — 
that the columna of ancient architec- 
ture always implies a real, and not a 
fictitious, support ; for neither the 
Greeks nor the Romans, until the 
arts had declined, ever made use of 
columns, as the moderns do, in their 
buildings, as a superfluous ornament, 
or mere accessory to the edifice, but 
as a main and essentially constituent 
portion of the fabric, which would 
immediately fall to pieces if they 
were removed ; and that the abusive 
application of coupled, clustered, in- 
castrated, imbedded columns, &c, 
was never admitted in Greek archi- 
tecture ; for the chief beauty of the 
column consists in its isolation, by 
means of which it presents an endless 
variety of views and changes of 
scene, with every movement of the 
spectator, whether seen in rank or 
in file. 

2. Columna cochlis. A column 




with a cockle or spiral staircase in the 
centre, for the purpose of ascending 
to the top. (P. Victor, de Reg. Urb. 



COLUMN A. 



1 9 I 



Rom. c. 8. and. 9.) These were em- 
ployed for various purposes ; and 
more especially for honorary columns, 
to support on their tops the statue of 
the person whose achievements or 
memory they were erected to com- 
memorate. Two of the kind still 
remain at Rome, one constructed 
in honour of the Emperor Trajan, 
which is represented in the engraving, 
with a section by its side of part of 
the interior, to show the spiral stair- 
case, and which, with the statue on 
the top, now supplanted by one of 
Pope Sixtus V., was 130 feet in height ; 
the other, of a similar character, in 
honour of the Emperor M. Aurelius 
Antoninus. Both are covered ex- 
ternally by spiral bas-reliefs, repre- 
senting the various wars carried on 
by these emperors, from which many 
figures have been selected to illustrate 
these pages. 

3. Columna rostrata. A column 
ornamented with images, representing 
the prows {rostra) of ships all down 
the shaft. (Virg. Georg. ii. 29. 
Servius, ad I.) These were erected 
in commemoration of per- 
sons who had obtained 
a great naval victory ; 
and the example repre- 
sents the one set up in 
honour of C. Duilius 
(Plin. H. N. xxxiv. 1 1.), 
after his action with the 
Carthaginian fleet, B.C. 
261, now preserved, to- 
gether with part of the 
original inscription under- 
neath, detailing the number of vessels 
and booty taken, in the Capitol at Rome. 

4. Columna Bellica. A short co- 
lumn erected before the temple of 
Bellona, situated near the porta Car- 
mentalis and Circus Maximics, against 
which the Romans in early times 
used to hurl a spear when about to 
declare war. Festus, s. v. Bellona. 
Ovid. Fast. vi. 206. 

5. Columna Mcenia. A column 
erected in the Roman forum, to 
which slaves, thieves, and other of- 




fenders were bound, and publicly 
punished. Cic. Sext. 58. Id. Div. 
Verr. 16. Ascon. ib. 

6. Columna Herculis. The co- 
lumns of Hercules ; originally and 
properly, two large pyramidal co- 
lumns, which the Phoenicians were 
accustomed to set up in the course 
of their extensive voyages, as light- 
houses and landmarks, whereby to 
recognise particular coasts upon any 
future visit, being respectively dedi- 
cated to Hercules and Astarte, their 
sun and moon. They are plainly 
shown by the annexed woodcut, 
from the device on a Tyrian coin, 
where the two columns, with the 
light-house in front, the conch under- 
neath, which the master of the vessel 
sounded to announce his arrival in 
port (see Bucinator), and the tree re- 
presenting the land, evidently explain 
the objects intended. Remains of 
such works, or others resembling 
them, are found in the west of Eng- 
land, in China, and in Africa, and are 
mentioned by Tacitus {Germ. 34.), as 

O • Af 




existing in his day on the eastern 
bank of the Rhine, in the country of 
the Frisii {Frisons). By the Greeks 
and Romans, however, the two pyra- 
midal mountains at the Straits of 
Gibraltar, Calpe and Abyla {Gibral- 
tar in Europe, and Ceuta in Africa) 
were termed the Columns of Hercules, 
in consequence of the resemblance 
which they bear at a distance to the 
Phoenician columns described above, 
and a corresponding fable, to account 
for the name, was invented in favour 
of their own hero. Mela, i. 5. Plin. 
H. N. iii. Proem. 



192 



COLUMXARIUM. 



CO 31 A TUS. 



7. The king-post, or crown-post in 
a timber roof, which supports the 
tie-beams {caprcoli) and rafters (can- 




t/ierii), marked D in the illustration. 
Vitruv. iv. 2. 1. 

COLUMNA'RIUM. A Roman 
tax levied upon proprietors or occu- 
pants for the number of columns 
contained in their houses, or other 
buildings belonging to them. Cic. 
Att. xiii. 6. 

COLUMN A'RI US. A worthless 
fellow, or, perhaps, an insolvent 
debtor; i.e., literally, one who had 
been summoned to receive punish- 
ment at the cohimna Mcetiia. Coel. 
ad Cic. Fam. viii. 9. 

COLU'RIA. Circular segments 
of stone placed one on the top of the 
other to form a column, when the 
column is made of different pieces 
instead of one entire block of marble. 
Sidon. Ep. ii. 2 ; but the reading is 
not certain. 

COLUS (l'AaKari]). A distaff; com- 
monly made out of a cane stick about 




a yard in length, slit at the top in 
such a manner that it would open, 
and form a sort of basket for contain- 
ing the mass of wool or flax intended 



to be spun into threads, as repre- 
sented by the right-hand figure in 
the annexed woodcut, which is 
copied from an Egyptian original in 
the British Museum. The ring which 
suirounds it is intended to be put over 
the wool, as a sort of cap, which 
keeps the whole mass together. The 
peasantry of Italy make their distaffs 
j of precisely the same form and mate- 
rials at the present day. When the 
distaff was filled with wool, it was 
designated bv such epithets as comtita 
(Plin. H. N. viii. 74.), plena (Tibuil. 
i. 3. 86.). or lana ainicta (Catull. 64. 
312.), and is shown by the left-hand 
figure, from a bas relief on the Fo- 
rum of Nerva, at Rome, which re- 
presents a female with the distaff in 
her left hand, and the drawn thread 
{stamen) depending from it, whilst she 
twists the spindle [fusus) with the 
fingers of her right hand. Compare 
also the article Neo, in which the 
manner both of spinning, and of 
using these implements, is more fully 
detailed. 

COLYMB'US {kuXv^oc). In the 
Gloss of Isidorus, a tank {Iacus) 
wherein clothes were washed ; hence, 
a swimming or plunging bath. Lam- 
prid. Hel. 23. Prudent. Ilepi a-Mp. 12. 

COMA (icofiii). The hair of the 
head ; nearly synonymous with C.E- 
saries, but mostly with an implied 
sense of length and profusion ; i. e.. 
a fine head of long thick hair ; 
j whence we find the word applied to 
t the mane of animals (Pallad. iv. 13. 
I 2. Aul. Gell. v. 14. 2.); to the horse 
hair on the crest of a helmet (Stat. 
Theb. viii. 389. and Crista) ; and 
often connected with such epithets as 
intonsa (Cic. Tnsc. iii. 26. ). demissa 
(Prop. ii. 24. 52.), and the like. 

COMATO'RIUS. See Acus, 2. 

COM A TUS [Kofiiiryo). In a 
general sense, one who is possessed 
of a head of long thick hair, which 
is allowed to luxuriate in its natural 
growth (Mart. xii. 70. Suet. Cat. 
35. ) ; but the word is also specially 
used to characterise the Germans 



COMES. 



COMPEDITUS. 



*93 



(Tertull. Virg. Veland. io.) and 
the people of Transalpine Gaul, in- 
cluding Belgica, Celtica, and Aqui- 
tanica, all of which were comprised 
under the name of Gallia Comata 
(Mela, iii. 2. Plin. iv. 31. Lucan. i. 
443.), in consequence of the profusion 
and abundance of their hair, and the 
manner in which it was arranged, 
uniformly represented by the Roman 
artists like the example here annexed, 




which is copied from a sarcophagus 
discovered in the Villa Amendola, 
near Rome, and covered with bas- 
reliefs giving the details of a combat 
between the Romans and Gauls. 

COMES [(ikoXovOoc). A com- 
panion or associate, generally ; but 
more specially an attendant, or tutor, 
who accompanied his pupil to and 
from school, in his walks, &c. Suet. 
Aug. 98. Tib. 12. Claud. 35. 

COMISSATIO {KWfioi; ovfmA- 
friov). A revelling, feasting, or drink- 
ing bout, commencing after the coena, 
and often protracted to a late hour of 
the night. (Varro, L. L. vii. 89. 
Liv. xl. 13. Cic. Ccd, 15. Suet. Tit. 
7.) Greek scenes of this nature are 
frequently represented on fictile vases. 
(Mus. Borb. v. 51. Millin. Vas. Ant. 
ii. 58. Tischbein. ii. 55. Wink. Mon. 
Ined. 200.), in which the lateness 
of the hour is indicated by the intro- 
duction of candelabra, the festivity 
by the presence of Comus and winged 
genii, and the debauchery by the 
mixed company of courtesans, dancing, 
playing, and singing girls. 

COMISSA'TOR {KuifiaoTfe 



ovfin<')T>ic). A reveller, who forms 
one of the company at a comissatio, 
or wine parly. (Liv. xl. 9. Cic. 
Ccel. 28.) It was not always usual 
for the comissalor to dine {cocnare) 
with his host ; but he was often in- 
vited to come in and take his wine 
with the company after he had dined 
elsewhere ; as Habinnas comes from 
the coena of Scissa to the comissatio 
of Trimalchio— Habinnas comissator 
intravit. Pet. Sat. 65. 3. Compare 
Liv. xl. 7. 

COMITTUM. An enclosed place 
abutting on the Roman Forum, and 
near the Curia, where the Comitia 
Centuriata were held and causes 
tried. (Varro, L. L. v. 155.) It was 
originally uncovered, in consequence 
of which the assemblies were often 
obliged to be dissolved when the 
weather was bad ; but was roofed in, 
to obviate this inconvenience, during 
the second Punic war. (Liv. xxvii. 
36.) Some lofty walls, still remain- 
ing under the Palatine hill, are sup- 
posed to be vestiges of this building. 

COMMENTAC'ULUM or COM- 
MOTAC'ULUM. A wand which 
the Roman priesthood carried in 
their sacrificial processions, wherewith 
to clear the way, and prevent the 
populace from closing too near upon 
them. Festus, s. v. 

COMPEDI'TUS. Having fetters 
or shackles upon the feet; but the 




word more especially designates a 
slave who always wore, and worked 
in, fetters (Seneca, Tranq. c. 10. 



194 



COMPES. 



COMPLUVIUM. 



Plaut, Capt. v. i. 23. Cato, R. R. 56. 
Compare Ovid. Pont. i. 6. 31.), like 
the galley-slaves of modern Italy, 
whose chains are precisely similar to 
those worn by the figure in the illus- 
tration, from an engraved gem, which 
represents Saturn in fetters ; an ad- 
junct frequently given by the Romans 
to the statues of this deity, but from 
which they were removed during his 
festival in the month of September 
(Stat. Sylv. i. 6. 4.), when a tempo- 
rary liberty was also allowed to the 
slaves in allusion to the happy con- 
dition which mankind were supposed 
to have enjoyed under his reign. 

COMPES (iritfif). A fetter, or 
shackle for the feet ; as shown by 
the preceding woodcut, and the illus 
tration CATULUS. 

2. A ring of silver or gold, worn 
by women round the bottom of the 
leg, just above the ankle, in the same 
manner as a bracelet is round the 
wrist (Plin. N. xxxiii. 54. Com- 




pare xxxiii. 12. Pet. Sat. 67. 7.), as 
shown by the annexed engraving, 
from a Pompeian painting of Ariadne. 
Ornaments of this nature were con- 
fined to females of the plebeian classes 
at Rome, to courtesans, dancing girls, 
and characters of that description, who 
went with bare feet, and partially ex- 
posed their legs ; which would other- 
wise have been entirely concealed 
under the long and trailing drapery 
of the Roman ladies and mat i ons. 
For a similar reason, they ai'e never 
represented in the Pompeian paint- 
ings on figures who wear shoes, but 
only when the foot and ankle is 
uncovered ; but when Petronius, in 



the passage cited, places them on the 
legs of Fortunata above her shoes, 
it is to ridicule the vulgar ostenta- 
tion of wealth in the wife of the 
parvenu by the adoption of an unusual 
custom. 

COM'PITUM. A place where 
two or more roads meet ; more espe- 




cially with reference to the country 
(Virg. Georg. ii. 382.), in contradis- 
tinction from trivium, which applies 
more to the streets of a town. (Cic. 
Agr. i. 3.) It was customary to 
erect altars, shrines, and small temples 
on these spots, at which religious 
rites in honour of the Lares Compi- 
tales, the deities who presided over 
cross-roads, were performed by the 



country people (Prop. 



54-); 



whence the word compitum is some- 
times used for a shrine erected on 
such a spot. (Grat. Cyneg. 483. Pers. 
iv, 28.) All these particulars are 
elucidated by the illustration, from a 
landscape painting at Pompeii. 

COMPLU'VIU M. A large 
square opening in the centre of the 




CONCEDES. 



CONDALIUM. 



J 95 



roof which covered the four sides of 
an Atrium in Roman houses, and to- 
wards which these sides converged 
for the purpose of carrying down the 
rain into a reservoir [imfiluvhini) in 
the floor immediately under it ; as is 
clearly shown by the illustration, re- 
presenting the interior of a Pompeian 
Atrium restored. (Varro, L. L. v. 161. 
Festus, s. Impluvium. Vitruv. vi. 
3. 6. ). In a passage of Suetonius {Aug. 
92.), the whole of the open space, 
or area surrounded by the colonnade, 
is designated the comphivinm. 

CONCEDES. A barricade made 
of trees cut down and placed across a 
road to impede the approach or pur- 
suit of a hostile force. (Tac. Ann. i. 
50. Veg. Mil. iii. 22.) On the co- 
lumns of Trajan and Antonine the 
Roman, as well as barbarian, soldiers 
are frequently represented in the act 
of felling trees for this and similar 
purposes. 

CON'CHA (K(>yxti). Strictly, a 
shell-fish, such as the mussel, pearl 
oyster, or murex ; and. as various 
household utensils were made out of 
the shells of these fish, or in imitation 
of them, the name is commonly given 
to such objects ; as to a salt-cellar 
(Hor. Sat. i. 3. 14.) ; a drinking-clip 
(Juv. vi. 303.) ; a vase for unguents. 
Hor. Od. ii. 7. 22. Juv. vi. 419. 

2. The conch, or Triton's shell, 
which they are frequently represented 
by poets and ar- 
tists as blowing in 
place of a trumpet 
(Plin. H. N. ix. 4. 
Lucan. ix. 394.), 
in which cases the 
shell more closely 
resembles the bu- 
cina, as shown by 
the annexed engraving 
cotta lamp. 

CONCILIAB'ULUM. In a ge- 
neral sense, any place of public re- 
sort ; but more especially a rendez- 
vous where the country people were 
in the habit of meeting together at 
stated intervals, for the purpose of 




terra- 



transacting business, holding markets, 
and settling disputes, thus answer- 
ing very nearly to our market and 
assize- ton ns, and places where fairs 
are appointed to be held. Festus, s. 
v. Liv. vii. 15. Id. xxxiv. I. and 
56. Id. xl. 37. 

COIsXLA'VE. A general name, 
applied indiscriminately to any room 
or apartment in a house which is not 
a public passage room, but might be 
locked with a key, whether a dining- 
rccm, bedroom, &c. Fesius, s. v. 
Ter. Eun. iii. 5. 35. Id. Beaut, v. 1. 
29. Cic. Rose. Am. 23. Id. Or. ii. 
86. Vitruv. vi. 3. 8. 

CON'CREFO. See Crepitus. 

CONCUBI'NA. A female who 
had contracted the peculiar sort of 
alliance termed concubinaius. Cic. 
Or. i. 40. Dig. 2S- 7. 

CONCUBINA'TUS. Properly, 
an alliance between two persons of 
different sexes, in the nature of a 
marriage, which was not looked upon 
as immoral or degrading amongst the 
Romans, so long as each party re- 
mained single, though it had none 
of the legitimate consequences of a 
proper marriage attached to it. It 
j usually occurred between persons of 
unequal rank or condition, but who 
still wished to live together, as be- 
tween a senator and freed-woman ; 
and, in effect, very closely resembled 
the so-called morganatic marriages of 
crowned heads or princes with persons 
of inferior rank, which, by the laws 
of some countries, may be impolitic 01 
illegal, but not immoral. Becker, Gal- 
lus. Ulp. Dig. 25. 7. 1. Ib. 48. 5. 13. 

CONCUBI'NUS. A man who 
contracts the alliance termed conai- 
binatus with a female. Catull. 61. 
130. Quint, i. 2. 8. 

CON DA 'LI UM. A ring worn 
on the first joint [condyhis. koi Sv\oc) 
of the fore-finger. <^^_^^ 
(Festus. s. Condy- 
lus. Plaut. Trii, 



iv. 3. 7. and 15.) 
The commenta- < -*2s*^ 
tors and lexicograph ers infer from the 



I96 CONDI TIVUM. 



CONFARR EA T10. 



passage of Plautus [I. c.) that rings of 
this description were peculiar to the 
slave class ; but it does not appear that 
the condalium, which Stasimus loses in 
the play, was his own ; it might 
surely have been his master's ; and 
the one in our engraving is on the 
right hand of a female in a bronze 
statue discovered at Herculaneum. 
There are, however, two statues in 
the Vatican (Visconti, Mus. Pio 
Clem. iii. 28. and 29.), both repre- 
senting comic actors (one of them 
certainly a slave), who wear similar 
rings on the same joint of the fore- 
finger, but on the left hand. 

CONDITI'VUM. Seneca, Ep. 
vi. Same as 

CONDITO'RIUM. An under- 
ground vault or burying-place {de- 
scendit in conditorium. Pet. Sat. 1 1 1 . 
7.), in which a corpse was deposited 
in a coffin, without being reduced to 
ashes (Plin. H. N. vii. 16.); a practice 
pi-evalent amongst the Romans at the 
two extreme periods of their history, 
before the custom of burning had ob- 
tained, and after it had been relin- 
quished. This is the strict meaning 
of the word, though it also occurs in 
a more general sense for a monument 
erected above ground (Plin. Ep. vi. 
10. 5.) ; and in which cinerary urns 
were also placed. The illustration 




represents the section and plan of a 
sepulchral chamber, excavated in the 
rock which forms the base of the 
Aventipe hill, at a depth of forty feet 
below the surface ; the centre shaft 
formed a staircase for descending into 



the sepulchre, which is a circular 
chamber, having an external corridor 
all round it, as shown by the ground- 
plan in miniature at the left hand of 
the upper part of the engraving. It 
also contains niches for cinerary urns, 
which may have been made at a sub- 
sequent period. 

2. (\apva£). The chest or coffin in 
which the dead body was encased, 
when placed in the vault. (Suet. 




Aug. 18. Plin. H. N. xxxvii. 7.) 
The illustration represents the coffin 
of L. Cornelius Scipio Barbatus, 
which was discovered in an under- 
ground sepulchre of the Cornelian 
family on the Appian Way. The 
whole is carved in a grey-coloured 
stone of volcanic formation ( peperhio) 
with dentils, triglyphs, and rosettes 
in the metopes ; the top slab takes 
off as a lid; and on the side is en- 
graved the following epitaph, not 
only curious as identifying for whom 
the coffm was mr.de, but as an au- 
thentic specimen of early Latinity : — 

CORNELIUS . LVCITS . SCIPIO . BARBATUS . GXAIVOD . PATRE 
PROGNATVB . FORTIS . VIR . SAPiENSQVE . QVOIVS . FORMA. 

VLRTCTEI . PARISVMA . 
FUIT . COXSOL .CENSOR . UDELLS . QTEI . FUIT . APUD . VOS . 
TAVRASIA . CISAVNA . 

SAsnno . cepit . stbigit . omse . eovcan a . opside que . 
ABDOvcrr . 

3. A magazine in which military 
engines were kept. Ammian. xviii. 
9. 1. 

CONDUS, or Promus Condus. 
See Promus. 

CON'DYLUS. Same as Conda- 
lium. Festus, s. v. 

CONFARREA'TIO. One of the 
three forms of contracting marriage 
in use amongst the Romans ; believed 
to have been the most ancient, as it 
was the most solemn form, for it par- 



COXFA RREATUS. 



CO NOPE I'M. I97 



took of the nature of a religious cere- 
mony, whereas the other two were 
merely civil contracts. It was so- 
lemnised in the presence of ten wit- 
nesses, the high priest, and Flamen 
Dialis ; was accompanied by prayers, 
and the sacrifice of a sheep, the skin 
of which was spread over the chairs 
on which the bride and bride- 
groom sat. The name obtained 
from the custom of carrying a flour 
cake {far) before the bride as she 
returned from the wedding. (Ar- 
nob. iv. 140. Serv. ad Vitg. Georg. 
i. 31. sEn. iv. 374. Plin. H. N. xviii. 
3.) An ancient marble, representing 
this ceremony, is engraved and de- 
scribed by Bartoli [Admirand. pi. 58.), 
and by Lumisden {Antiquities of 
Rome, appendix iii.) ; but the figures 
are too numerous, and the details too 
minute, to bear a reduction adapted 
to these pages. 

CONFARREATUS. One who 
is married by the ceremony of con- 
farreatio. Tac. Ann. iv. 16. 

CONGIA'RIUM. A largess, or 
donation, consisting of a number of 
cougii filled with wine, oil, salt, &c. 
(Liv. xxv. 2. Plin. H. N. xiv. 17. 
Ib. xxxi. 41.), which it was custom- 
ary with the Roman kings, consuls, 
and emperors to distribute amongst 
the people at their own expense. 
(Suet. Nero, 7. Plin. Paneg. 25.) 
This is the original and strict mean- 
ing of the term ; but in process of 
time, donations of other things, even 
money (Suet. Aug. 41.), were desig- 
nated by the same name, as well as a 
largess made to the soldiery (Cic. 
Alt. xvi. 8.), though the proper name 
for that is donativum. The manner 
of distributing these favours was as 
follows : — the donor sat upon an ele- 
vated tribunal (suggestum), which the 
recipients approached one by one, and 
were presented with a token (tessera), 
upon which the amount to be received 
was written, and made payable upon 
presentment at the magazine of the 
giver ; as shown in the illustra- 
tion, from a bas-relief on the arch of 



Constantine at Rome ; or, in some 
cases, the tokens were thrown down 




promiscuously amongst the crowd to 
be scrambled for, when they were 
expressly called miss ilia. 

COK'GIUS. A Roman liquid 
measure, containing six sextarii, or 
twelve hemintz (Rhemn. Fann. de 
Pond, et Mens. 70. Cato, R. R. 57.), 
the form and character of which is 
shown by the annexed engraving, 




from an 01 iginal of the age of Vespa- 
sian, now known as the Farnese 
Congius. The large letters P. X. 
stand for pondo decern. 

CONISTE'RIUM { K oriarpa). An 
apartment in the pahvstra ok gymna- 
sium, the floor of which was covered 
over with fine sand (Kont), or in 
which the bodies of the wrestlers 
were rubbed over with sand after 
being anointed. Vitruv. v. II. 

CONO'PEUM or CONOPI'UM 
{«wyu)-nnov, or kwviottsIoi'). A musquito 
net, suspended over a sleeping couch, 
or over persons reposing out of doors, 
to keep off gnats and other trou- 
blesome insects ; the u>e of which 



CONQ UISI TORES. 



CONS TEA TUM. 



originated in Egypt, Hor. Epod. ix. 
l6. Prop. iii. II. 45. Varro, R. R. 
ii. 10. 8. Juv. vi. 80., in which pas- 
sage the penultimate is long. 

CONQUISITO'RES. Press- 
masters, or recruiting officers ; who 
were appointed to go and seek out 
certain citizens, selected by the consul 
for conscripts, and compel them upon 
his authority to take the military 
oath, and enter the service ; whereas, 
on common occasions, the citizens 
presented themselves voluntarily to 
be enrolled. Cic. Mil. 25. Liv. xxi. 
11. Hirt. B. Alex. 2. Compare Cic. 
Prov. Cons. 2. Liv. xxiii. 32. xxv. 6. 

CONSECRA'TIO {&7ro9ku>oic, 
atpifpuxjic). The act of deification, 
or canonisation ; by which cere- 
mony a mortal was enrolled amongst 
the gods, and admitted to a partici- 
pation in divine honours, a distinction 
usually conferred upon the Roman 
emperors, but unknown under the 
republic. The chief part of this 
ceremony was performed in the 
Campus Martius, where a pyre of 
faggots and rough wood was raised, 
covered externally by an ornamental 
design, resembling a tabernacle of 
three or four stories, each of which 
lessened as they got higher, and were 
ornamented with statues, drapery, 
and other decorations. In the se- 



the soul up to heaven, as seen rri the 
subjoined woodcut, from a bas-relief 




cond story, a splendid couch, with 
a waxen image of the deceased lying 
on it, was deposited, and surrounded 
with all kinds of aromatic herbs. 
The whole mass was • then ignited 
and an eagle let loose from the top 
story, which was believed to carry 




on the arch of Titus, representing 
the deification of that emperor. The 
first woodcut shows the tabernacle, 
from a medal of Caracalla, which 
bears the inscription Consecratio as 
a legend. Tac, Ann. xiii. 2. Suet. 
Dom. 2. Herodian. iv. 2. 

CONSTRA'TUM. In general, 
any flooring made of planks ; as, 1. 
Constratum navis (Pet. Sat. 100.), 
the deck of a ship, which is very 
clearly expressed in the annexed 
engraving, from a bas-relief on the 




tomb of Munatius Plancus at Pom- 
peii. 2. Constratum pontis (Liv. 
xxx. 10.), the flooring which affords 
a gangway over 



bridge of boats, as 




in the annexed example, from the 
Column of Antoninus, or over a 
wooden bridge, as in the illustration 
to Pons Sublicius. 



CONSUL. 



CO NT US. 



I 99 



CONSUL (virarov). A consul ; 
one of the two chief magistrates an- 
nually elected by the Roman people 
during the republican period, and 
nominally retained under the empire, 
though with very different and limited 
powers. The outward symbols of 
their authority were the fasces, which 
were carried before them by twelve 
lictors ; an ivory sceptre {sceptrum 
ebur neum, or scipio eburneus), with 
the image of an eagle on its top ; and 
the embroidered toga {toga picta), 
which, however, was only worn upon 
certain occasions : their ordinary 
civil costume being the toga and 
tunica, with the latus ciavus ; their 
military one, the paludamentum, lorica, 
and parazonium. Consequently, on 
works of art, they are represented 
without any very distinctive marks ; 
either simply draped in the toga, or 
in the same military costume as other 
superior officers ; as on the consular 
coins of Cn. Piso, and of China, in 
Spanheim, vol. ii. pp. 88. 91. 

CONTABULA'TIO. The long 
parallel folds in a loose garment, such 
as the toga, palla, 
pallium, &c. , which 
hang down from 
the shoulders, and 
present the appear- 
ance of folding or 
lapping over one 
another, like a 
boarding of planks 
in a wooden build- 
ing, as is plainly 
demonstrated by the 
lines at the back of 
the annexed figure, 
from a fictile vase. 
Apul. Met. xi. p. 
240. Compare Tertull. de Pall. 5. 
and Corrugis. 

CONTA'RII, and CONTA'TI 
(icovT<)<pnpoi). Soldiers armed with the 
long pike styled contus. Inscript. 
ap. Grut. 40. 2. and 3. Veget. Mil. 
iii. 6. Arrian. Tact. p. 15. See 
Contus, 3. 

CONTIGNA'TIO. The wood- 




work of beams and joists which sup- 
ports the flooring in a building of 
several stories (Vitruv. vi. 5. Pallad. 

i. 9. ) ; whence also used to designate 
the floor or story itself. Cass. B. C. 

ii. 9. Liv. xxi. 62. 
CONTOMONOB'OLON. A 

game in which feats of leaping were 
displayed by men who made use of a 
pole {contus) to assist their exertions. 
Imp. Justin. Cod. 3. 43. 3. Com- 
pare Monobolon. 

CONTUBERNA'LES (avaictivoi). 
Comrades or messmates ; i.e., soldiers 
who shared the same quarters, and 
lived together under the same tent ; 
each tent being occupied by ten men, 
with a subaltern {decamis), something 
like our sergeant or corporal, at their 
head. Festus. s. v. Veg. Mil. ii. 8. 
and 13. Cic. Ligar. 7. Hirt. Bell. 
Alex. 16. 

2. Young men of distinguished 
families, who accompanied a general 
in his military expeditions, for the 
purpose Of learning the art of war, 
were also termed his conhtbcrnales, 
or on his staff. Cic. Ccel. 30. Suet. 
Jul. ^2. 

3. Hence, in a more general sense, 
any close or intimate friends and 
acquaintances. Plin. Ep. iv. 27. 5. 

4. Persons living together as man 
and wife, without being legally mar- 
ried ; as slaves, or a freedman and 
a slave. Pet. Sat. 96. 7. Id. 57. 6. 
Columell. i. 8. 5. Id. xii. 3. 7. 

CONTUBER'NIUM {hva K r\via). 
A military tent in which ten soldiers 
and their corporal {decanus. or caput 
contubernii) are quartered together 
(Caes. B. C. iii. 76. Tac. Hist. i. 
43.) ; whence, in a more general 
sense, any dwelling in which several 
persons live together (Suet. Cal. 10. 
Tac. Hist. iii. 74. ) ; and especially, ' 
the abode of a pair of slaves, male 
and female. Columell. xii. r. 2. 

CONTUS (kovtoc). A long and 
strong pole, shod with iron, employed 
for punting ; i. e., for pushing on a 
boat against the stream, instead of 
rowing, like our punt-pole ; as shown 



2 DO 



CONUS. 



C0NVIV1UM. 



in the annexed engraving, from the 
very ancient mosaic pavement in the 




temple of Preneste (now Palestrina). 
Virg. ALn. vi. 302. Eurip. Alcest. 
262. 

2. A pole of similar character, em- 
ployed on board ship (Virg. ALn. v. 
208.) for various purposes ; to keep 
the vessel off the rocks or shore 
(Horn. Od. \Xi 487.) ; for taking 
soundings (Festus, s. Percunctatio. 
Donat. ad Terent. Hec. i. 2. 2.) ; and 



similar uses. Every trireme was 
furnished with three such poles, of 
different sizes (Bbckh. Urk. p. 125.) ; 
and in the illustration at p, 91. (s. 
Bucinator), one of the sailors is 
observed to stand at the head of the 
vessel, which is just about to enter 
the port, with a contus in his hands. 

3. A cavalry pike of very great 
weight and length (Non. s. v. p. 555. 
Arrian. Tact. p. 15., where it is 
distinguished by juxtaposition from 
the lance, Xoyxv, lanced), and resem- 
bling the Macedonian sarissa, ex- 
cept that it was not quite so long. 
(Veg. Mil. iii. 24.) It was the na- 
tional weapon of the Sarmatians 
(Tac. Ann. vi. 35. Stat. Achill. ii. 
418. Sil. Ital. xv. 684.) ; though 
occasionally adopted by the Greeks, 
and some of the Roman cavalrv (Ar- 




rian. p. 16.) ; and was likewise em- 
ployed by sportsmen in hunting wild 
beasts. (Grat. Cyneg. 117.) The 
length and strength of the weapon 
in the illustration, which represents 
Alexander at the battle of Issus, 
from the great mosaic of Pompeii, 
favours the belief that we have in it a 
genuine specimen of the contus. It may 
be remarked that only one half of its 
entire length is presented to the view, 
as the portion behind the hand, which 
is placed at the centre of gravity, has 
perished, from the mutilation of the 
original ; and, likewise, tliat it is 
erroneously instanced as an example 
of the sarissa, an arm which belonged 
to the infant?'}', and was still more 
ponderous. 

CO'NUS (kCjvo'j). Generally, any- 



thing of a conical figure ; whence, in 
a more special sense :• — 

1. The metallic ridge on the skull- 
piece of a helmet, to which the crest 
was affixed (Plin. H. N. x. I. Virg. 
ALn. iii. 468.) ; for which the genuine 
Latin word is Apex ; which see. 

2. A particular kind of sun-dial ; 
from its designation, supposed to 
have been described upon an eleva- 
tion of conical form. Vitruv. ix. 8. I. 

CONVIV'IUM {(rvi'hmvov, hri- 
naic). A feast, or banquet ; but at 
regular and proper hours, and with- 
out any implied notion of debauchery 
or excess ; in which respect it differs 
from comissatio, which was a pro- 
tracted revel after the convivium. 
Cic. Senect. 13. Id. Verr. ii. 4. 27. 
Id. Offic. iii. 14. 



COOPERCULUM. 



COQUUS. 



COOPER'CULUM. Same as 
Operculum. 

COOPERTO'RIUM. Loose cloth- 
ing, as a covering for animals, ob- 
jects, or persons. Veg. Vet. iii. 77. 
Sccev. Dig. 34. 2. 39. 

CO' PA. A girl who frequents 
the taverns, where she gains a liveli- 
hood, by dancing, singing, and play- 
ing for the amusement of the com- 
pany. Suet. Nero, 27. Virg. Copa, I. 

COPA'DIA. Delicacies for the 
table, or dainties for gourmands. 
Apic. vi. 1. vih 6. 

COPH'INUS {xSfivoe). A large 
kind of basket or hamper, very gene- 
rally employed in gardening and 
husbandry (Columell. xi. 3. 51.), as 
well as for other purposes. (Juv. 
Sat. iii. 14. Id. vi. 542.) The illus- 
tration annexed, which is copied 




from an engraved gem, probably re- 
presents a basket of this description ; 
the flowers placed in it indicate its 
use, and the size is declared by there 
being two persons to support it. 

COP'IS (Koirig). A scimitar ; a 
sword with a convex edge (lem'ter 
curvatus, Curt. viii. 14. ), and conse^ 




quently, better adapted for cutting 
than thrusting. It was more espe- 
cially peculiar to the Eastern nations 
(Xen. Cyr. ii. r. 9. vi. 2. 10.); and, 
accordingly, the example here given 
is lying on the ground beside a 
wounded Phrygian, in a statue exca- 
vated at Pompeii. 

2. The hunting knife {culter vetia- 
torius), in consequence of its having a 
convex edge (see the illustration s. 
Culter, 3.), is called by the same 
name in Apuleius, Met. xi. p. 243. 



COPO. See Caupo. 

COPO'NA. See Caupona. 

COP'REA {Konptac). A jester or 
buffoon ; a word first introduced 
under the Roman emperors (Suet. 
Tib. 61. Claud. 8. Dio Cass. xv. 
28.) ; in whose palaces such charac- 
ters were kept, like the kings' jesters 
of the middle ages. 

COPTA (kottt,)). A sort of hard 
cake or biscuit, which would keep 
for a long time, and might be trans- 
mitted to great distances. The island 
of Rhodes was famed for its manufac- 
ture. Mart. xiv. 68. 

COPTOPLACENTA {kotttott^c,. 
kouc). Same as the preceding. Pet. 
Sat. 40. Poet. Lat. Min. ap. Werns- 
dorf. torn. ii. p. 234. 

COP'ULA ('ifiavnor). A leash for 
coupling sporting dogs, as in the 




example, from a bas-relief, represent- 
ing the funeral of Meleager. Ov, 
Trist. v. 9. Alciphr. Ep. iii. 9. 

2. A breast-collar attached to the 
traces, by which draft horses or 
mules drew their loads, as in the 




example, from a painting at Hercu- 
laneum. after Ginzrot. Apul. Met. 
ix. p. 185. 

COQUUS {fxayupo^). A cook 
(Mart. xiv. 220. Liv. xxxix. 6.) ; 
and in early times a maker of bread 



202 



CO RAX. 



CO KBIT A. 



(Festus, s. v. Plin. H, N. xviii. 28.) 
It was not until A.u.C. 568, that the 
bakers became a distinct trade at 
Rome ; and previously to this period 
each family ground their own flour, 
the cook making and baking the 
bread. (Plin. /. c.) The Greek fid- 
ytipoc was also originally employed 
in making bread for the family. 

COR' AX (Kooa'i). A Greek word, 
which occurs in a Latin form in 
Vitruvius, but only as a translation 
from Diades, who merely mentions it 
as the name of one of the military 
engines employed in the attack of 
fortified places, observing, at the 
same time, that it was very inefficient, 
and not worth the trouble of de- 
scribing. (Vitruv. x. 13. 8.) Poly- 
bius' also gives the same appellation 
to an engine employed by the Romans 
on board ship, and describes at length 
the manner in which it was con- 
structed and applied. Polyb. i. 22. 

CORBIC'ULA. (Pallad. ii. 10. 
6.) Diminutive of 

COR'BIS. A basket of wicker- 
work, made in a pyramidical or 
conical shape (Varro, >«ss, 
L. L. v. 139. Id. R. R. i. j£g£g|k 
22. I. Isidor. Orig. xx. 9. ^?5|pi||& 
Compare Arrian. Anad. 
v. 7- 8. 7r\sy/*a tic Xuyon '^WW 
7T»>(0.a//ofj5st')» and used for '-far 
a variety of agricultural 
purposes, the particular application 
being generally marked by a charac- 
teristic epithet, as : — 

1. Cordis messoria ; a basket used 
for measuring corn in the ear, as op- 
posed to the modius, in which it was 
measured after it had been threshed 
out (Cic. Sext. 38. Cato. R. R. 136.) : 
or in which the ears of corn {spica) 
were collected by the reaper, when 
each ear was nicked off from the top 
of the stalk by a serrated instrument 
(see the illustration and description 
s, Falx denticulata), instead of being 
cut with the straw. Varro, R, R. i. 
50. I. Propert. iv. II. 28. Ov. Met. 
xiv. 643. 

2. Cordis pabulatoria ; a basket of 



the same character, which contained a 
certain measure of green food for cattle. 
Columell. vi. 3. 5. Id. xi. 2. 99. 

3. Cordis constricta ; a basket of 
similar character, employed as a 
muzzle for horses (Veget. Mulo?n. iii. 
23. 2.), but here the reading is doubt- 
ful ; Schneider has curcuma. 

The example introduced above is 
copied from a fresco painting in the 
sepulchre of the Nasonian family on 
the Flaminian Way, near Rome, 
where it appears several times in the 
hands of figures engaged in rural 
occupations ; and is given as a genu- 
ine specimen of the Roman cordis or 
cordula, on account of the uses to 
which it is there applied, its affinity 
in form to the descriptions cited at 
the head of this article, and because 
a basket of exactly the same shape 
and materials is now employed by 
the Neapolitan peasantry for similar 
purposes, and called by a diminutive 
of the same name, la cordella. 

COR'BITA (ttXoToi' Girnywyar or 
(TiTTjyor). A merchantman ; but 
more accurately, a ship employed 
solely for the transport of com, and 
so termed, because it carried a 
cordis at the mast-head. (Festus, 
s. v.) These were large and heavy 
sailing vessels (Plaut. Pan. iii. I. 4 
Lucil. ap. Non. s. v. p. 533. Com- 
pare Cic. Att. xvi. 6.), with two 
masts, as proved by the annexed ex- 
ample, from a medal of Commodus, 




struck in commemoration of his 
having chartered a number of vessels 
to bring corn to Rome from Africa 
and Egypt, as narrated by Lam- 
pridius in his life. The cordis is 



CORBULA. 



CORNU. 



203 



seen at the top of the rrlain-mast ; 
and it may be remarked that the 
modern name corvette originated in 
this word. 

COR'BULA. Diminutive of 
Corbis ; a small basket employed 
in fruit-gathering (Cato, R. R. ii. 
5.) ; as a bread-basket (Caecil. ap. 
Non. s. v. p. 197.) ; and for carrying 
up dishes from the kitchen to the 
dining-room. Plaut. Aid. ii. 7. 4. 

CORDAX («6p8aZ). A dance of 
the old Greek comedy, at once highly 
ridiculous, and so indecent that it was 
considered a mark of drunkenness or 
great want of self-respect to dance it 
off the stage. (Pet. Sat. 52. 9. He- 
sych. s. v. Aristoph. Nub. 540.) A 
dance of this kind is represented on 
a marble tazza in the Vatican (Vis- 
con ti, Mus. Pio-Clem. iv. 29.), where 
it is performed by ten figures, five' 
Fauns and five Bacchanals ; but their 
movements, though extremely lively 
and energetic, are not marked by any 
particular indelicacy ; certainly not 
so much as is exhibited in the Nea- 
politan tarantella, which is thought 
to preserve the vestiges of the Greek 
cordax. 

CORIA'RIUS (<Ticv\odtyig, okvto- 
Ss\ln]c). One who prepares hides and 
skins; a tanner or a currier. Plin. 
//. N. xvii. 6. Inscript. ap. Grur.. 
648. 8. and 283. 1. 

COR'NICEN (KeparavXtjc or ict- 
pavXrig). A trumpeter; i. e., who blows 




the large circular horn called cormt, 
as shown by the annexed illustration, 



from the arch of Constantine at 
Rome. Liv. ii. 64. luv. x. 214. 

CORNICULA'RIUS. Strictly, a 
soldier who had been presented by 
his general with the cornictdum ; 
whence the name was given as a title 
to an assistant officer, or adjutant, 
who acted for the consul or tribune ; 
probably because the person so pro- 
moted was always selected from 
amongst those who had received the 
above-named reward. Suet. Dom. 1 7. 
Val. Max. vi. 1. n. 

2. Hence the word came also to 
be. applied in civil matters to a clerk 
or secretary, who acted as the assist- 
ant of a magistrate. Cod. Theodos. 
7- 4- 3 2 - 

CORNIC'ULUM. Diminutive of 
Cornu, any small horn ; but, in a 
more special sense, an ornament be- 
stowed upon meritorious soldiers by 
their commanding officer, as a mark 
of distinction (Liv. x. 44.), supposed 
to have been in the form of a horn, 
and worn upon the helmet, either as 
a support for the crest, like the left- 
hand figure in the engraving annexed, 




from a bas-relief ; or affixed to the 
sides, like the one on the right, from 
a painting at Pompeii. 

CORNU, CORNUS, or CORNUM 
(ictpac). Originally, an animal's horn ; 
whence specially applied to various 
other objects, either because they 
were made of horn, or resembled 
one in form ; for instance : — 

1. A horn lantern. Plaut. Amph. 

1. 1. 188. See Laterna. 

2. An oil cruet, either made of 
horn, or out of a horn. Hor. Sat. ii. 

2. 61. 

3. A funnel made out of a horn. 
(Virg. Georg. iii. 509.) See Infun- 

DIBULUM. 



204 



CORNU. 



CORNU COPIM. 




4. A drinking-horn (Calpurn. Eel. 
x. 48. Plin. H. N. xi. 45.), origi- 
nally made out of 
a simple horn, 
but subsequently 
of different me- 
tals modelled in- 
to that form. 
When drinking, 
the horn was 
held above the 
head, and the liquor permitted to 
flow from it into the mouth through 
a small orifice at the sharp end, as 
shown by the illustration, from a 
painting at Pompeii. 

5. An ornamental part of the hel- 
met. (Liv. xxvii. 33. Virg. A£n. 
xii. 89.) See CORNICULUM. 

6. ((X(i\ 7rt GrpoyyvXi]). A very 
large trumpet ; originally made of 
horn, but subsequently of bronze 
(Varro, L. L. v. 117. Ovid. Met. i. 
98.), with a cross-bar. which served 




lyre (tcstudo) ; 



the double purpose of keeping it in 
shape, and of assisting the trumpeter 
to hold it steady while in use, as 
shown bythe illustration s. Cornicen. 
The example is copied from the 
Column of Trajan. 

7. The horn of a 
and as there were two 
of these, one on each 
side of the instru- 
ment, the plural is 
more appropriately 
used. (Cic. jV. D. ii. 
59.) They were some- 
times actually made 
with the horns of cer- 
tain animals, as of the 
wild antelope (Herod, 
iv. 192.), which appear to be rep 




sented in the annexed example, from 
a painting at Pompeii. 

8. A bow ; in like manner made 
with the horns of animals, joined to- 
gether by a centre piece, as shown 
by the annexed example, from a fic- 



tile vase. In this sense both the 
singular and plural are used. Ovid. 
Met. v. 383. Virg. Eel. x. 59. Suet. 
Nero. 39. 

9. The extreme ends of a yard- 
arm, to which a square sail is at- 




tached ; used in the plural, because 
there were two of them. Virg. sEn. 
iii. 549. Ib. v. 832. 

10. Also in the plural. Orna- 
ments affixed to each end of the 
stick upon which an ancient book or 
volume was rolled, in the same 
manner as now practised for maps, 
and projecting on either side be- 
yond the margin of the roll. The 
precise character of these horns is 
not ascertained, nor in what respect 
they differed from, the umbilici ; nor 
have any appendages appearing to 
correspond with the name been met 
with amongst the numerous MSS. 
discovered at Herculaneum. It is 
clear, however (from Ov. Trist. i. 1. 
8. and Tibull. iii. 3. 13.). that all 
books were not decorated with them, 
but only such as were fitted up with 
more than ordinary taste and ele- 
gance. As the cylinder to which the 
horns were attached was fastened on 
to the bottom of the roll, the expres- 
sion ad cormta is used to signify the 
end. Mart. xi. 107. Compare Um- 
bilicus. 

CORNU COTI^ {Kfpac 'A/iaX- 
Otiac). The horn of plenty; a 
symbol composed of the, primitive 



COROLLA. 



CORONA. 



20: 




drinking-horn (Cornu, 4.), filled 
with corn and fruit, to indicate the 
two kinds of nourish- 
ment essential to man- 
kind, whence commonly 
employed by poets and 
artists as a symbol of 
Happiness, of Concord, 
and of Fortune. (Plaut. 
Pseud, ii. 3. 5. Compare 
Hor. Epist. i. 12. 29. 
Od. i. 17. 15.) The ex- 
ample is from a terra- 
cotta lamp, where it accompanies an 
image of Fortune. 

COROL'LA (rjr«pari(TKoc). As a 
general diminutive of Corona, means 
any kind of small chaplet or garland 
(Prop. ii. 34. 59. Catull. 63. 66.) ; 
but the word is used in a more 
special sense to designate a wreath of 
artificial flowers made out of thin 
horn shavings, tinged with different 
colours, to imitate the tints required, 
and worn in the winter season. Plin. 
//. N. xxi. 3. 

COROLLA'RIUM. Also a di- 
minutive from Corona ; but more 
specially applied to a light wreath 
made of very thin leaves of metal 
plated or gilt, which the Romans 
used to give away as a present to 
favourite actors. Plin. H. N. xxi. 3. 
Varro, L. L. v. 178. 

CORO'NA ((TTS(paVOC, fCOpwi'tV). 

A wreath, garland, or chaplet, made 
of real or artificial flowers, leaves, 
&c, worn as an ornament upon the 
head ; but not as a crown in our 
sense of the word, i. e. as an emblem 
of royalty ; for amongst the ancients, 
a diadem (diadema) occupied the 
place of the modern crown. Of these 
there were a great many varieties, 
distinguished by the different mate- 
rials or the designs in which they 
were made, and chiefly employed as 
rewards for public virtue, or orna- 
ments for festive occasions. Under 
these two divisions, the principal 
coronce are enumerated in the follow- 
ing paragraphs : — ■ 

1. Corona triumphalis. The tri- 



umphal crmvn ; of which there were 
three several kinds. ( I.) A wreath of 
laurel leaves without 
the berries (Aul. 
Gell. v. 6. 1. Plin. 
H. N. xv. 39.), worn 
by the general during 
his triumph in the 
manner shown by 
the annexed bust of 
Antoninus, from an 
engraved gem. This 
being esteemed the 
most honourable of the three, was 
expressly designated laurea insignis. 
(Liv. vii. 13.) (2.) A crown of gold 
made in imitation of lam-el leaves, 
which was held over the head of the 
general during the triumph by a public 
officer {servns publicus, Tuv. x. 41.) 
appointed for the purpose, and in the 
maimer shown by the illustration, 





from a bas-relief on the Arch of 
Titus, representing that emperor in 
his triumphal car at the procession 
for the conquest of Jerusalem, in 
which a winged figure of Victory 
poetically performs the part of the 
public officer. (3.) A crown of gold, 
and of considerable value, but merely 
sent as a present to the general who 
had obtained a triumph (Plut. Faid. 
JEmil. 34 ), from the different pro- 
vinces, whence it is expressly called 
proviucialis. Tertull. Coron. Mil. 13. 

2. Corona ovalis. A chaplet of 
myrtle worn by a general who had 
obtained the honour of an ovation. 
Aul. Gell. v. 6. Festus, s. v. 

3. Corona oleagina. A wreath of 
olive leaves, which was conferred 
upon the soldiery, as well as their 
commanders, and was appropriated 



2o6 



CORONA. 



as a reward for those through whose 
counsels or instrumentality a triumph 
had been obtained, though they were 
not themselves present in the action. 
Aul. Gell. v. 6. 

4. Corona obsidiondlis. A garland 
of grass and wild flowers, whence also 
termed graminea (Liv. vii. 37.), 
gathered on the spot where a Roman 
army had been besieged, and pre- 
sented by that army to the com- 
mander who had come to their relief, 
and broken the siege. Though the 
least in point of value, this was re- 
garded as the most honourable of all 
the military rewards, and the most 
difficult to be obtained. Aul. Gell. 
v. 6. Festus, s. v. Plin. xxii. 4. 

5. Corona civica. The civic crown ; 
a chaplet of oak leaves with the acorns, 
presented to the 
Roman soldier 
who had saved 
the life of a com- 
rade in battle, 
and slain his op- 
ponent. It was 
originally pre- 
sented by the 
rescued comrade, 
and latterly by the 
H. N. xvi. 3. Aul. 
Ann. xv. 12.) The illustration is 
from a painting at Pompeii, repre- 
senting a young warrior with the 
civic wreath. 

6. Corona muralis. The mural 
crown ; decorated with the towers 
and turrets of a 
battlement, and 
given as a re- 
ward of valour 
to the soldier 
who was first in 
scaling the Avails 
of a besieged city. 
(Liv. xxvi. 48. 
Aul. Gell. v. 6.) 
The character of this crown is known 
from the representations of the god- 
dess Cybele, to whom it was ascribed 
by poets and artists, in order to typify 
the cities of the earth over which she 




emperor. (Plin. 
Gell. v. 6. Tac. 




presided. (Lucret. ii. 607-610. Ov. 
Fast. iv. 219.) The example is from 
a bas-relief found in a sepulchre near 
Rome. 

7. Corona castrensis, or vallaris. 
A crown of gold, ornamented with 
palisades [vallum), and bestowed upon 
the soldier who first surmounted 
the stockade, and forced an entrance 
into an enemy's camp. (Aul. Gell. 
v. 6. Val. Max. i. 8. 6. ) Of this no 
authentic specimen exists. 

8. Corona classica, navalis, or ros- 
trata. A chaplet of gold designed 
to imitate the 
beaks of ships 
[rostra), and 
presented to the 
admiral who had 
destroyed a hos- 
tile fleet, and, 
perhaps, also to 
the sailor who 
was the first to 
board an enemy's 
vessel. (Paterc. ii. 
viii. 684. Plin. H. 
4. Aul. Gell. v. 6.) It is repre- 
sented in the annexed woodcut, on 
the head of Agrippa, from a bronze 
medal. 

9. Corona radiata. The radiated 
crown ; set round with projecting 
rays, and pro- 
perly assigned 
to the gods or 
deified heroes ; 
whence it was 
generally as- 
sumed by the 
Roman empe- 
rors, and by 
some other per- 
sons who affected the attributes of 
divinity. (Stat. Theb. I. 28.) Its 
character is shown in the annexed 
illustration, on the head of Augustus, 
from one of the Marlborough gems. 

10. Corona factilis, plectilis, or 
plexilis. A festive garland worn 
merely as an ornament round the 
head, and composed of natural 
flowers with their leaves adhering to 




Virg. Atn. 
xvi. 3. and 




CORONA. 



207 





choicest leaves 
each blossom, 



the stalks, by which they were twisted 
and twined toge- 
ther, as in the 
annexed illustra- 
tion, representing 
a personification 
of Spring, from a 
marble bas-relief. £<f I 
PI in. H. N. xxi. V 
8. Aul. Gell. xviii. 2. Plaut. Bacch. 
1. 1. 37. 

11. Corona sutilis. An ornamental 
garland for the head, made of flow- 
ers plucked from 
their stalks, and 
sewed together. 
It was the one 
worn by the Salii 
at their festivals ; 
and was origi- 
nally composed of 
flowers of any 
description, but 
subsequently of 
the rose alone, the 
being selected from 
and then sewn together. (Plin. 
H. N. xxi. 8.) It is represented in 
the annexed engraving, on the head 
of a Roman empress, from an en- 
graved gem. 

12. Corona natalitia. A wreath 
of laurel, ivy, or parsley, which the 
Romans were in the custom of sus- 
pending over the door of a house in 
which a birth had taken place, in the 
same way as the natives of Holland 
put up a rosette of lace upon similar 
occasions. Bartholin, de Puerp. p. 
127. Compare Juv. Sat, ix. 85. 

13. Corona longa (inroOvfii^, vtto- 
Ovfxidc). A long 
wreath or festoon 
of flowers hung 
over the neck and 
chest, in the same 
way as the ro- 
sary, of which it 
was the probable 
original, the ro- 
sary being still 
called " la corona 
by the modern 




Italians; but, amongst the Greeks and 
Romans, it appears to have been more 
particularly employed as a festive 
decoration, and was used to ornament 
buildings as well as persons. (Ovid. 
Fast. iv. 738. Cic. Leg y ii. 24.) The 
illustration is from an ivory carving 
in the Florentine gallery, supposed 
to represent M. Antony in the cos- 
tume of a follower of Bacchus, and 
resembles exactly the description 
which Cicero gives of Verres, with a 
chaplet on his head, and a garland 
round his neck — ipse aute?n co?'ona?n 
habebat unam in capite, alteram in- 
collo. Verr. ii. 5. II. 

14. A cornice, or projecting mem- 
ber, used to decorate walls, either as 
a finish on the top (see the next il- 
lustration), or for the purpose of 
making ornamental divisions on any 
part of the surlace. Vitruv. v. 2. 
Id. vii. 3. 4. Plin. H. N. xxxvi. 59. 

15. A particular member of the 
cornice which crowns an entablature 
under the roof, still called by our 
architects the corona. It is that par- 




ticular member which has a broad 
flat face situated between the cyma 
recta above, and the cymatium, or bed 
moulding, below, from which it has 
a bold projection. (Vitruv. iv. 3. 6. ) 
The Roman architects, unlike ours, 
do not appear to have appropriated 
any distinct word to express collec- 
tively all the members of which a 
cornice is composed ; consequently, 
they did not regard the cornice as 
an entire portion of an entablature, 
but as several distinct members, 
which are always enumerated sepa- 
rately : viz., the sitna ; cymatium in 
summp ; corona ; cymatium in imo. 



2o8 CORONARIA. 



CORTINA. 



Hesychius, however, uses the Greek 
Kcpioric in a collective sense, as equi- 
valent to our cornice. 

CORONA'RIA. A female who 
makes garlands and chaplets. Plin. 
H. N. xxi. 3. See next illustration. 

CORONA'RIUS (oTt(pavr)7r\6 K oc, 
OTi<pavoTrii\iic). One who makes and 
sells garlands, wreaths, chaplets, or 
crowns, of real or artificial flowers. 




(Fronto. ad M. Cass. Ep. i. 6. Plin. 
H. N. xxxiv. 26.) The illustration 
is from a Pompeian painting, and 
represents male and female genii en- 
gaged in this operation. 

2. Aurmn coronarium. A sum of 
gold sent by the provinces to a com- 
mander, for making a golden tri- 
umphal crown. (Cic. Pis. 37.) See 
Corona, i. (3.) 

3. Opus coronarium. Stucco-work 
employed in the decoration of cornices. 
Vitruv. vii. 6. Corona, 14. and 15. 

CORONATUS (<Tr£<pm>ii<p6pot). 
Wearing a wreath, chaplet, or crown. 
See the illustrations to Corona. 

2. Also, decorated with garlands 
or festoons ; applied to things, as 
to ships (Ov. Fast. iv. 335.) ; to 
altars (Prop. iii. 10. 19.) ; to cattle 
(Prop. iii. 1. 10. Id. iv. I. 21.). 

CORRIG'IA (ijuac, CT0mpwr//o). 
A shoe-string and hoot-lace (Cic. Div. 




J? 



ii. 40.) ; which were sometimes made of 
dog's skin. (Plin. H. N. xxx. 12.) The 
examples are from Pompeian paintings. 



CORRU'GIS. Literally wrinkled; 
but it is applied to the plaits of a 
loose garment {sinus corrugis, Nemes. 
Cyneg. 93.), produced by tying a 
girdle round it (see the figures in 
the opposite column) ; or to the ir- 
regular and transverse folds created 
by throwing up a portion over the 
shoulder, instead of leaving it pen- 
dant, as seen on the right side of the 

figure J. CONTABU LATIO. 

CORS.E. Fillets or mouldings 
employed to decorate the external 
face of a marble door-post. (Vitruv. 
iv. 6.) See the illustration s. Ante- 

PAGMENTUM. 

CORTEX (0AX6 C ). A cork used 
by fishermen to float their nets (Sidon. 
Ep. ii. 2. ^Esch. Cho. 506.) ; or as a 
buoy to indicate the spot where a net 
or a weel (nassa) was sunk. (Plut. de 
Gen. Socr. viii. p. 338. Reiske. An- 
thol. Gr. ii. p. 201. ed. Jacobs.) 

CORTI'NA. A deep circular 
vessel, or caldron, employed for boil- 
ing meat, melting 
pitch (Plin. H.N. 
xvi. 22.*), making 
paint (Id. xxx v. 
42 ), and a vari- 
ety of other pur- 
poses, for which 
its form and char- 
acter rendered it convenient, and 
which, when placed over the fire, 
was either raised upon a trivet, or 
supported, upon large stones put 
under ir. (Plin. H. N. xxxvi. 65.) 
The example is copied from a bronze 
original found at Pompeii. 

2. (o\/(oc, kvkXcc, tTrtOiifia rov rpi- 
ttoSo^). The lid or covering placed 
over the caldron 
or hollow part of 
the Delphic tri- 
jod (Virg. /En. 
vi. 347. Prudent. 
Apoth. 506. tripo- 
das cortina tegit, 
Jul. Pollux, x. 
Si.), upon which 
the priestess sat 
to receive the di- 





CORTINALE. 



CORYMB US. 



209 



vine afflatus, and pronounce her re- 
sponses. It had the form of a half 
globe, and is frequently represented 
in that manner by sculptors, lying 
by itself upon the ground at the feet 
of Apollo ; but when placed upon the 
caldron, the two together made a 
complete globe ; as shown in the il- 
lustration, from a bas-relief upon an 
altar in the Villa Borghese. In the 
original, the raven, sacred to Apollo, 
is sitting on its top ; in one of Hamil- 
ton's vases, Apollo himself is seen sit- 
ting upon the cup, without any lid, and 
in another, upon a lid like the present. 

3. An altar in the form of a tripod, 

made of marble, bronze, or 

the precious metals, often 
intended to be dedicated as 
an offering in the temples 
of the gods, and likewise 
preserved as a piece of or- 
namental furniture in the 
houses of great and wealthy 
persons. (Plin. H. N. 
xxxiv. 8. Suet. Aug. 52. 
Compare Mart. xii. 66.) 
The illustration is from an 
of marble in the Vatican. 

4. The vault or ceiling over the 
stage in a theatre, from its resem- 
blance to the covering of the tripod, 
No. 2. Sever. ALtn. 294. 

CORTINALE. A cellar in 
which new-made wine was boiled 
down in caldrons {cortina:). Colu- 
mell. i. 6. 19. 

CORTIN'ULA. Diminutive of 
Cortina. Ammian. xxix. 1. 

CORVUS {Kopal\. The name 
given to several machines employed 
in naval and military operations, and 
in the attack or defence of fortified 
places ; each of which was so called 
either from its resemblance in form 
to the raven's beak, or from the man- 
ner of its application, like the raven 
darting down, and carrying off its 
prey ; consequently, the word may 
be translated a crane, a grappling-iron, 
a crcnv-bar, as best suits the context 
in the passages where it occurs. Quint. 
Curt. iv. 2. Id. iv. 4. Vitruv. x. 19. 




2. A cutting instrument used in 
surgical operations, because the blade 
was shaped like a raven's beak. Cel- 
sus, vii. 19. 

CORVC.E'UM. An apartment 
in the gymnasium, and in large 
bathing establishments, such as the 
Roman Thermae, appropriated for 
playing a particular kind, of game, 
which consisted in buffetting back- 
wards and forwards a large sack 
{KtopvKot), filled with fig grains, olive 
husks, bran, or sand, suspended from 
the ceiling. Anthyll. ap. Oribas. Coll. 
Med. 6. Vitruv. v. 1 1. 

CORVM'BIUM. A wig of false 
hair, dressed in imitation of the co- 
rytnbus (Pet. Sat. 110. I. and 5.), — a 
fashion which is explained in the next 
article. No. 2. 

CORVM'BUS (/cnpu/yjSoO. A 
bunch of ivy denies, and likewise of 
other kinds of fruit which grow in the 
same conical-shaped clusters ; after- 
wards, a wreath or chaplet made with 
the leaves and clusters of the ivy, which 
the ancients used as a festive orna- 
ment on many oc- 
casions, but espe- 
cially as an appro- 
priate decoration 
for Bacchus and 
his followers, as in 
the annexed illus- 
tration, from a 
marble bust, sup- 
posed to represent 
Ariadne. Tibull. 
30. 39. Juv. vi. 52. 

2. A peculiar manner of airang 
ing the hair, more especially char 
acteristic of the 
early population of 
Athens (Heraclid. 
ap. Athen. xii. 5. 
Compare Croby- 
lus), and of the 
female sex amongst 
them. (Schol. ad 
Thucyd. i. 6.) It 
was produced by 
turning the hair 
backwards all round the head, and 
O 




Prop, ii 




2 lO 



CORYTVS. 



COTHURNUS. 



drawing it up to a point at the top, 
where it was tied with a band, so 
as to have a sort of resemblance in 
general form to a cluster of ivy ber- 
ries, as shown by the example, from 
a bas-relief in Greek marble. When 
the hair was too long or too abundant 
to be tied thus simply, it was fastened 
in a double bow across the top of the 
head, as in the well-known statue of 
Apollo Belvedere, and a bust of Diana 
in the British Museum. In Cicero 
{Ep. Att. xiv. 3.) Corymbus is a 
proper name, arising out of the cus- 
tom of arranging the hair in the man- 
ner described. Ernesti, Clav. Cic. s. v. 

3. The elevated ornament on the 
stern of a ship (Val. Flacc. i. 272.) ; 
for which the special name is Aplus- 
tre ; which see. 

CORY'TUS {yujpvToc). Properly, 
and accurately a bow-case (Serv. ad 
Virg. ^En. x. 168. , 
as contradistinguished 
from the quiver for 
arrows (pharetra) ; al- 
though the same case 
was sometimes used 
to carry both the bow 
and arrows, when it 
is distinguished by a 
characteristic epithet 
{sagittiferi coryti, Sil. 
Ital. xv. 773.). An example of both 
kinds is given in the engraving, the 
simple bow-case from a fictile vase, 
the one containing the bow and ar- 
rows from an engraved gem. 

COS {ciKovr}). A hone, whetstone, 
or grindstone ; worked Math water and 





oil (Plin. H. N. xxxvi. 47.), and by 
the same sort of machinery as now 
emoloyed. The illustration, from an 



engraved gem, represents Cupid 
sharpening his arrows on a grind- 
stone, exactly as described by Horace 
{Od. ii. 8. 15. ardentes acuens sagittas 
Cote omenta. ) 

COSMETA {Konwrfc). A slave 
of the male sex, attached to the house- 
hold establishment of Roman ladies 
of wealth and rank, whose duties con- 
sisted in superintending all arrange- 
ments connected with the toilet of his 
mistress. He practised the art of 
dressing, adorning, getting up, and set 
ting off the female person (V/ Koafii]TiKq 
Plat. Soph. 277. A.). Juv. vi. 477. 
and compare Heindorf. ad Hor. Sat. 
i. 2. 98. Becker. Gallus. p. 228. transl. 

COSMETRIA (KoGixijTpia). A 
lady 's-maid ; a female slave who per- 
formed similar offices to the preced- 
ing. The term, however, is properly 
Greek, for which the Romans use 
Ornatrix. It only occurs in Latin 
as the title to a play by Naevius, 
cited by Varro (Z. L. vii. 54.) ; and 
even there the reading is owing to an 
emendation of his editors, not the con- 
senting authority of MSS. 

COTHURNATUS. Wearing the 
cothurnus, as explained and illustrated 
in the next word. 

COTHUR'NUS {KoOopvo^. A 
high boot of Greek original, usually 
worn by huntsmen, and persons ad- 
dicted to the sports of the field. It 
was a leather boot, enveloping the 
entire foot (whence cothurno calceatus, 
Plin. H. N. vii. 19. ) and leg as far as 




the calf (Serv. ad Virg. sEn. i. 337. 
Herod, vi. 125.), was laced up the 
front, and turned over with a fall 
down at the top, besides possessing 
the characteristic peculiarity of not 



COTHURNUS. 



COT U LA. 



211 



being made right and left, as the foot 
coverings of the ancients usually 
were, but with a straight sole {solo 
perpetuo, Sidon. Apoll. Car///, ii. 
400. ), so that each boot could be 
worn indifferently on either foot 
{titroque aphis pedi, Serv. ad Virg. 
Bucol. vii. 32.) ; hence the frequent 
application of the word in the sin- 
gular, whilst the calcei and other 
coverings made in pairs mostly occur 
in the plural. All these peculiarities 
are distinctly apparent in the illustra- 
tion, representing on a larger scale 
the boots worn by the fowler ex- 
hibited at p. 67. s. Auceps. 

2. A boot of the same description, 
but more elaborately ornamented, 
and commonly translated buski/i, is 
occasionally assigned by the Greek 
artists to some of their 
divinities, especially to 
Diana, Bacchus, and 
Mercury ; and by the 
Romans in like manner, 
to the goddess Roma, and 
to their emperors as a sign 
of divinity. Thus the co- 
thurnus was assumed by M. Antony, 
when he affected the character and at- 
tributes of Bacchus (Veil. Pat. ii. 82.); 
but it was not worn by the Roman 
as a part of his ordinary costume ; for 
Cicero {Phil. iii. 6.) repi-oaches the 
insolence of one Tuditanus who ap- 
peared in public cum palla et co- 
thurnis. The illustration affords a 
specimen of a boot of this nature, 
from a marble figure representing the 
goddess Roma. 

3. The Roman poets also make 
use of the word cothurnus, as a trans- 
lation of the Greek tr$pdpi<; (see En- 
dromis, 3.). In this manner it is 
applied by Virgil {sEn. i. 341.), Ne- 
mesian {Cyneg. 90.), and Sidonius 
Apollinaris {Carm. ii. 400.), which 
last passage minutely describes the 
ti'dpofilc, but not the cothurnus. 

4. A boot worn by tragic actors 
on the stage (Virg. Eel. viii. 10. 
Servius ad I.), having a cork 
sole several inches thick, for the 





purpose of in- 
creasing their 
stature (compare 
Juv. Sat. vi. 
633.), and giving 
them a more im- 
posing appear- 
ance ; whence the 
word also came to 
signify a grand 
and dignified 
style. It was in 
order to conceal 
the unsightly ap- 
pearance of such a 
chaussure, that the tragic actors always 
wore long robes reaching to the 
ground, as seen in the ' illustration 
annexed, from a marble bas-relief of 
the Villa Albani, representing a com- 
pany of stage-players, though here 
the artist has left the cothurni un- 
covered, in order to identify the 
character of the actor. 

COTIC'ULA. Diminutive of 
Cos; a touch- stone for assaying gold 
and silver. Tlin. H. N. xxxiii. 43. 

2. A small mortar made of the 
same hard kind of stone as that used 
for hones and grindstones. Plin. 
H. N. xxxi. 45. Id. xxxvii. 54. Lsi- 
dor. Orig. iv. 11. 

COTT'ABUS (KOTTafBor). A 
game of Sicilian origin, and a very 
favourite after-dinner amusement 
amongst the young men of Athens. 
It was played in various ways, 
more or less complicated ; but the 
simple and ordinary manner con- 
sisted in casting the heel-tap of a 
wine-cup into a large metal vessel, or 
upon the floor, whilst the player 
affected to discover the sincerity of 
his mistress's affections by the par- 
ticular sound of the splash produced 
by the wine in its fall ; hence the 
word is applied to sounds of a similar 
kind, but produced by other means, 
as the lash of a whip. Plaut. Trin. 
iv. 3. 4. 

COT'ULA or COT'YLA (cori/Xi/.) 
A small measure of capacity, con- 
taining the half of a sextaritis. (Mart. 



212 COVIXARIUS. CRATICULA. 



Ep. viii. 71.) It was especially em- 1 
ployed by medical practitioners, and 
had a graduated scale marked upon 
the sides, like those used by our 
apothecaries, dividing it into twelve 
equal parts, each of which was termed J 
an uncia. I oz. 

COVIN A'RIUS. One who fights I 
from a war-car of the kind called i 
covintfis. Tac. Agr. 35. and 36. 

COVI'NUS. A war-car employed 
by the Belgse and ancient Britons, 
the precise character of which is not 
ascertained, beyond the fact that it 
was armed with scythes, and pro- 
bably had a covering overhead. ' 
Mela, iii. 6. Lucan. i. 426. Sil. Ital. 
xvii. 417. 

2. A travelling carriage adopted 
by the later Romans, after the model 
of the Belgian car ; and which, from 
a passage of Martial {Ep. xii. 24.), 
it is inferred, was driven by the owner, 
who sat inside, and not by a coach- 
man. In the same passage it is also I 
distinguished from the carruca and 
essedum, but without any particulars. 

CRA'TER (Kparrjp). A capacious 
bowl or vessel, containing wine and 
water mixed together, out of which 
the drinking goblets were filled, and 




handed round to each individual at 
table ; for the ancients seldom drank 
their wine neat. (Non. s. v. p. 545. 
Ovid. Fast. v. 522. Virg. sEn. i. 
728.) It was made of various mate- 
rials, from earthenware up to the 
precious metals ; and in different 
forms, according to the taste of the 
designer, but always with a wide 
open mouth, as in the example, from 
a bronze original discovered at Pom- 
peii. At meal time it was brought 



into the eating-room, and placed upon 
the ground, or on a stand, and the 
cup-bearer, [pincerna, pocillator) took 
the mixed liquor from it with a ladle 
{cyathus), out of which he replenished 
the cups (pocula, calices, &c), and 
handed them to the guests. In the 
representations of Greek banquets 
(see the examples quoted s. Comis- 
satio), the crater is placed upon the 
ground in front of the tables ; in an 
ivory carving of a Bacchanalian 
scene (Buonarotti, Med. p. 451.), it 
stands likewise upon the ground, 
while a winged genius pours the 
wine into it from an amphora ; and 
in a marble bas-relief, representing a 
similar subject (.Bartoli, Adm. p. 
45.), a Faun fills it in like manner 
from a wine- skin (ziter). 

2. The crater of a volcanic moun- 
tain (Plin. H. N. iii. 14. Lucret. vi. 
702.) ; which is produced by the 
cinders and other matters discharged 
into the air from the mouth of the 
volcano, falling down again all round 
the top, when they naturally form a 
deep circular basin, through which 
the eruption finds its vent. 

CRATES {rapaoL). Our crate ; 
a stand, frame, or basket made with 
hurdles, or like a hurdle ; also a hur- 
dle itself ; all of which were employed 
by the ancients in many different 
ways, as the same objects still are 
amongst ourselves. Varro, Cato, 
Columell. Virg. Hor. Ca?s. &c. 

2. Same as Carnarium. Juven. 
xi. 82. 

3. Sub crate necari. To be exe- 
cuted under the hurdle ; an unusual 
method of punishment, sometimes 
adopted by the Romans (Liv. i. 51. 
Id. iv. 50.), in which the condemned 
was laid under a hurdle, and crushed 
by a weight of stones thrown upon it. 
Plaut. Pan. v. 2. 65. 

CRATICIUS. Made with hur- 
dles, or hurdle- wise. See Paries, i. 

CRATFCULA {rnppiov). Dimin- 
utive of Crates ; whence, in a more 
special sense, a gridiron. (Cato, 
R. R. 13. 2. Mart. Ep. xiv. 221.) 



CREA GR A. 



C REP I DO. 213 



The example is taken from an ori- 
ginal of bronze found in a tomb at 




Pzestum, but without the handle, 
which is restored in the engraving, 
from a similar specimen painted in a 
sepulchre of the Christian era on the 
Via Tiburtina. 

CREAG'RA [Kptaypa). A Greek 
word Latinised (Marc. Cap.), for 
which the proper Latin term is Har- 
PAGO ; which see. 

C REM' I U M [fypvyavov). Small 
wood, or underwood, for burning ; es- 
pecially employed in bakers' ovens. 
Columell. xii. 19. 3. Ulp. Dig. 32. 35. 

CREPIC'ULUM, CREPID'- 
ULUM, or CREPIT'ULUM. An 
ornament for the head worn by fe- 
males, supposed to have acquired its 
name from the jingling sound it made 
with every motion of the wearer ; 
but nothing definite is known respect- 
ing it, and the readings are doubtful. 
Festus, s. v. Tertull. dc Pall. 4. 

CREPIDA (Kptiiric). Usually 
translated a slipper, which gives a 
very imper- 
fect, as well 
as incorrect, 
notion of the 
word. The 

crepida con- " '" 
sisted of a thick sole welted on to a 
low piece of leather, which only 
covered the side of the foot, but had 
a number of eyes (ansa:) on its upper 
edge, through which a fiat thong 
{amentum) was passed to bind it on 
the foot, as in the preceding wood- 
cut from a Greek marble ; or some- 
times loops [ansa) only were welted 
to the sole, as in the annexed exam- 
ple, also from 

a Greek sta- j 
tue, through 

which the ^ 
amentum was j^Tp 
interlaced, in ^^/^o*. r\ V >^*C\ ; 
different and 





fanciful patterns, across the instep, 
and as high as the ankle. It was 
properly characteristic of the Greek 
national costume, was adopted by 
both sexes, and considered the proper 
chaussure to be worn with the pallium, 
and with the chlamys ; consequently, 
on the fictile vases and other works of 
art, when figures are clad in the 
above-named garments, and not bare- 
footed, as in the heroic style, their 
feet are commonly protected by cover- 
ings of a similar description to those 
introduced above. Hor. Sat. i. 3. 
127. Pers. i. 127. Liv. xxix. 19. 
Suet. Tib. 13. Aul. Gell. xiii. 21. 3. 
2. Crepida carbatina. See Car- 

BATINA. 

CREPIDA'RIUS. One who fol- 
lowed the trade of making crepidie. 
Aul. Gell. xiii. 21. 

CREPIDA'TUS. Wearing shoes 
of the kind called crepida; properly 
characteristic of the Greeks, and used 
with the chlamys or the pallium. 
(Cic. Pis. 38. Suet. Bom. 4. Cre- 
pida.) The well-known statue of 
the Belvedere Apollo, which has the 
chlamys on its left arm, will furnish 
an example. 

CREPID'ULA. Diminutive of 
Crepida ; whence especially applied 
to those worn by females. Plaut. 
Pers. iv. 2. 3. 

CREPI'DO [upriiric). Any raised 
basement upon which other things 
are built or supported, as of a temple, 
altar, obelisk, &c. Plin. H. N. xxxvi. 
14. Compare Cic. Oral. 67. 

2. The trottoir or raised causeway 




for foot passengers on the side of 



214 CREPI TA C UL UM. 



CJIEPUNDIA. 



Roman road or street. (Juv. v. 8. 
Pet. Sat. 9. 2.) The illustration re- 
presents a street, with its roadway 
and foot-pavement, in the city of 
Pompeii. 

3. A wall built as a margin or 
embankment along the side of a 
river, port, or basin of water, to form 
a quay, against which ships were 
.moored, and passengers or merchan- 
dise landed or embarked. Cic. Verr. 
ii- 5- 7- Quint. Curt. iv. 5. Id. v. 1. 

4. In architecture, the projecting 
members of a cornice, or other orna- 
ments in a building. 

CREPITAC'ULUM. 
rattle, with bells attached, 
to make a jingling sound ; 
especially, a child's rattle. 
(Quint, ix. 4. 66. Capell. i. 4. 
Compare Lucret. v. 230. 
where the diminutive, cre- 
pitacillum, is used.) The 
example represents an ori- 
ginal found at Pompeii. 

2. Martial {Ep. xiv. 54.), and Apu- 
leius {Met. xi. p. 240.), give the same 
designation to the Egyptian sistrum, 
which was only another kind of rattle ; 
see that word and the illustration. 

CREPITUS, sc. digitorum ; or 



A little 





concrepare digitis {cnroKportj/jia). A 



snapping of the fingers by pressing 
the tip of the thumb (hence pollex 
argntus, Mart. vi. 89.) firmly against 
the middle finger, a gesture employed 
by the ancients for making a sign to 
attract observation (Cic. Agr. ii. 30.); 
particularly as a summons to their 
slaves (Pet. Sat. 27. 5. Mart. Ep. 
xiv. 19. Id. iii. 82.); and, in general, 
as a mark of contemptuous indiffer- 
ence ; which latter expression is im- 
plied by the figure in the engraving, 
representing a drunken Faun, from a 
statue found at Herculaneum, as it 
were in the act of exclaiming, " Eat, 
drink, and be merry ; all else is not 
worth this snap of the fingers." (Ath. 
530- c.) 

CREPUN'DIA {(JTrapyava). Chil- 
dren 's playthings ; consisting of a 
variety of miniature objects, such as 
rattles, dolls, little swords, hatchets, 
&c, and other toys similar to those 
given to children at the present 
day. But the Greeks and Romans 
also included under the same name 
little tokens of the same description 
which they used to tie round their 
children's necks (Plaut. Mil. v. 6.) for 
ornaments, or amulets, and also to 
serve as a means of recognition for 
those who were exposed, or put out 
to nurse. (Plaut. Cist iv. 1. 13. 




Cic. Brut. 91. Soph. (Ed. T. 1035.) 
Several of these are enumerated by 
Plautus {Rud. iv. 4. 111-126. Ep. 
v. i. 34.), and are seen round the 
neck of a child in a statue of the Pio- 
Clementine Museum, copied in the 
preceding engraving, of the same 



CRETA. 



CRISTA. 



215 




Character as he mentions : — viz., a 
half moon {lunula) on the top of the 
right shoulder ; then a double axe 
(securicula ancipes) ; next a bucket 
{situla argenteola) ; a sort of flower, 
not mentioned ; a little sword {ensi- 
cuius aureolus) ; a little hand \mdni- 
cula) ; then another half-moon ; a 
dolphin, instead of the little sow 
{sucula) mentioned by Plautus ; with 
a recurrence of the same objects. 

CRE'TA. The same as Calx and 
Linea ALBA. Plin. H. N. viii. 65. 

CRIBELLUM (ico<Ticivtoi>). Di- 
minutive of 

CRI'BRUM (kookivqv). A sieve; 
made of parchment perforated with 
holes, or of horse- 
hair, thread, papy- 
rus, or rushes, in- 
terwoven, so as to 
leave interstices 
between each plat. 
The Romans sifted 
their flour through 
two kinds of 
sieves, called respectively excussoria 
and pollinaria, the latter of which 
gave the finest flour, termed pollen. 
Sieves of horse-hair were first made 
by the Gauls ; those of linen by the 
Spaniards ; and of papyrus and 
rushes by the Egyptians. (Plin. //. N. 
xviii. 28. Cato, R. K. 76. 3. Pers. 
Sat. 3. 112.) The example is from a 
bas-relief on the Column of Trajan. 

CRIN A LE. A large comb of 
convex form {curvum, Ovid. Met. v. 
52.), made to fit 
the back of the 
head, where it was 
placed to keep the 
back hair close 
down to the head, 
as shown by the 
annexed engrav- 
ing, from a small 
bronze figure, re- 
presenting one of the Sabine women 
in the arms of a Roman soldier. 
(Guasco, delle Ornatrici, p. 69.) It 
will be understood that the long ends 
of the hair have fallen from their 




place by the violence of the struggle 
in which the figures had been en- 
gaged ; and it may be remarked, that 
the women of Rome and its neigh- 
bourhood still wear a comb of the 
same kind, which they call " lo 
spicciatojo. " 

CRI'NIS (OplZ). Any hair ; then 
especially the hair of the head ; more 
particularly implying a head of hail- 
in its natural state and growth ; i. e., 
not cut, nor aitificially dressed. 
Hence, crinis passus, dishevelled hair, 
which is left to hang down to its full 
length, as was usual with the women 
of antiquity when afflicted with any 
great calamity (Liv. i. 13. and see 
the illustration s. Vrmficm) ; crinis 
sparsus, hair which streams wildly 
irom the head, characteristic of per- 
sons under violent exertions, or pos- 
sessed by any furious passion or 
impulse. Ovid. Met. i. 542. and the 
illustration s. Baccha. 

CRINI'TUS. Having long and 
flowing hair, which is suffered to 
hang clown at its natural length, such 
as the figures introduced s. Acerse- 
COMES and Camillus. Ennius ap. 
Cic. Acad. ii. 28. Mart. Ep. xii. 49. 

CRISTA Q6<poc). The crest of a 
helmet ; which was affixed to an ele- 
vated ridge {apex) on the top of the 
scull-cap. (Virg. JEn. xii. 89. Liv. 
x. 39. Plin. H. N. vii. 67.) Both the 
apex and crista are often included 
under the latter term ; but the real 
difference between the two words is 




that given. The illustration here 
introduced affords an example of 
three Roman helmets, with their 
crests composed of feathers, from a 
group originally belonging to the 



2 1 6. CRISTATUS. 



CKOCOTULA. 



Arch of Trajan, but now inserted, 
on the Arch of Constantine, near 
the Coliseum. The Greek crests 
were more usually made of horse- 
hair, with the entire tail falling 
down behind, as a protection to the 
nape of the neck and back, like the 
left-hand figure in the following en- 
graving, from a fictile vase ; and 
they sometimes added as many as 
three crests to one helmet, like the 




right-hand figure in the engraving, 
from a statue of Minerva. 

CRISTA'TUS. Applied to hel- 
mets, distinguishes those which were 
fitted with a crest {crista) from the 
mere scull- cap {cudo), which had 
neither ridge-piece nor crest. (Liv. 
ix. 40. Ovid. Met. viii. 25.) Com- 
pare the preceding woodcuts with 
the illustration to Cudo. 

CRO'BYLUS (fcpw/ii'Xoc or icpw- 
finXor). Designates a pariicular 
manner of arranging the hair, which 
was characteristic of the earliest in- 
habitants of Athens (Thucyd. i. 6.), 
and some uncivilised nations {cro- 
bylos barbarorum, Tertull. Virg. Ve- 
land. 10). It was effected by draw- 
ing back " the 
hair from the 
roots all round 
the head, and 
fastening it in 
. a knot, or with 
a tie at the 
top ; and the 
same fashion 
prevailed a- 
mongst both sexes of the Greeks 




but the term crobylus had an especial 
reference to the men ; cory??ibus, on 
the contrary, to the women. (Schol. 
ad Thucyd. /. c.) Yet Thucydides 
and Heraclides of Pontus (ap. Athen. 
xii. 5.) use the two words (/cpw/3»>\o(; 
and nopvpfioc;) as convertible terms, 
and both descriptive of the male ad- 
justment. It is, moreover, an un- 
founded statement to say, as some of 
the interpreters have done, that the 
fashion was peculiar to "elderly per- 
sons." Thucydides, in narrating the 
progress of the Greeks towards 
civilisation in dress and manners, 
remarks that certain antiquated 
customs, and amongst them that 
of the crobylus, had but lately been 
given up by some of the old peo- 
ple. But age is always the most 
averse to change, and the last to 
adopt new fashions ; and many will 
remember a similar instance in mo- 
dern Europe to that mentioned by 
Thucydides, where some few of the 
oldest people continued to wear their 
pig-tails long after they had been 
generally laid aside by the younger 
portion of the community. Besides, 
the Greek artists frequently give a 
coiffure of this kind to Apollo, Bac- 
chus, and youthful persons, as in our 
example, from a bronze figure of a 
boy discovered at Herculaneum. The 
precise set of the hair is not expressed 
with sufficient distinctness ; but in 
the original it is clearly seen to be 
turned back and tied up in the- same 
manner as that more plainly shown 
by the head of the female illustrating 
the word Corymbus. 

CROCO'TA {icpoKioTov). A rich 
saffron-coloured robe, or gala dress, 
worn by the Greek women at the 
Dionysiac festivals ; and from them 
adopted by the ladies of Rome (Non. 
s. v u p. 549. Plaut. Fragm. ap. Non. 
s. Strophiunvp. 538.) ; by the priests 
of Cybele (Apul. Met. viii. p. 172.) ; 
and also by some individuals who 
affected a feminine and foppish style 
of dress. Cic. Harusp. Respons. 21. 

CROCO'TULA {icpoKAnor). Di- 



CROTALIUM. 



CRUSMATA. 217 



minutive of the preceding. Plaut. 
Epid. ii. 2. 49. Virg. Catalect. v. 21. 

CROTAL'IUM (,cpora,W). Li- 
terally, a small rattle ; a sort of pet 
or fancy name by which the Roman 
ladies designated a pendant to their 
ear-rings, when formed by two or 
more drop pearls [elenchi), sufficiently 
large to produce a sharp crackling 
sound (like that of the crotalum), 
when shaken against ^ 
each other by the mo- \\\ 
tions of the wearer. 
(Pet. Sat. 67. 9. Plin. 
H. N. ix. 56.) The 
example represents an 
original ear-ring found 
at Pompeii. 

CROT AUSTRIA. A female 
performer on the crotala. Prop. iv. 
8. 39. See the next woodcut. 

CROT'ALU M (icporaXov). A 
sort of musical instrument especially 
employed in the worship of Cybeie 
(Apul. Met. viii. p. 170.), and fre- 
quently used to form an accompani- 
ment for dancing. (P. Scipio ap. 
Macrob. Sat. ii. 10. Virg. Copa, 2.) 
It consisted of two split canes, or 
hollow pieces of wood or metal joined 
together by a straight handle, as in 
the right-hand figure of the annexed 
engraving, from a mosaic pavement 




in a tomb excavated in the Villa 
Corsini. When played, one of these 
was held in each hand, and snapped 
together with the fingers, so as to 
produce a crisp rattling sound, like 



the castanets, as shown by the female 
figure in the illustration, from a bas- 
relief of the Villa Borghese. 

CRUCIA'RIUS. A criminal exe- 
cuted upon the cross (c/ux) by hang- 
ing (Pet. Sat. 112. 5. cruciarii paren- 
tis detraxerunt pendente m) ; hence, a 
worthless fellow, like our gallmvs- 
bird. Apul. Met. x. p. 215. 

CRUCIFIX'US. Or, separately, 
ci-uci focus ; nailed to the cross, in 
the manner we understand by the 
term crucified. Quint, vii. 1. 3. Plin. 
H. N. viii. 18. 

CRUME'N A (fiaXavriov). A 
leathern pouch for carrying money, 
slung over the neck by a strap (Plaut. 
Asm. iii. 3. 67. Id. True. iii. 1. 7.). 
so as to hang 
in front of the 
person or at 
his back ; 
whence Bal- 
lio, in Plautus 
{Pseud, i. 2. 
38.), tells the 
slave to walk 
in front, that 
he might keep 
an eye upon the cnunena, which 
was slung behind him. It was from 
the practice of carrying money about 
in this manner that the Greek ex- 
pression f3a\ai'Ti6rofior, equivalent to 
our cut-pnrse, derived its origin and 
meaning. The illustration is from a 
figure on a bronze lamp. 

CRUPPELLA'RIUS. A Celtic 
word employed by the Gauls to de- 
signate a particular class of men who 
fought as gladiators, clothed from 
head to foot in an entire suit of ar- 
mour. (Tac. Ann. i. 43. Lamprid. 
Alex. Sen. 56). Men thus accoutred 
were termed cataphracti or clibanarii 
by the Persians, and crnppellarii by 
the Gauls. See the illustration s. 
Cataphracti. 

CRUS'MATA or C RUM AT A 
(icpovfiara or Kpovo/iara). Castanets; 
in ancient times, as well as our own, 
peculiarly characteristic of the 
Spanish nation (Mart. Ep. vi. 71.) 




2l8 



CRUSTM. 



though the same instruments were 
also played by the women of Greece 
and Italy, as is proved by the an- 
nexed illustration from a fictile vase ; 
and by a bas-relief of the Capitoline 
Museum (hi. 36.), in which a female 
is represented with the same instru- 




ment in her right hand, and the sea- 
billum under her left foot. 

CRUS'T^E. Figures or images in 
low-relief, embossed upon plate, as 
contradistinguished from ei?iblemata, 
which were in high-relief. Cic. Verr. 
ii. 4. 23. Paul. Dig. 34. 2. 33. 

CRUSTA'RIUS. An artist who 
designed and modelled crnstce for 
gold and silver plate. (Plin. H. N. 
xxxiii. 55.) They were sold at Rome 
in shops appropriated for that par- 
ticular branch of trade, called crus- 
tarice tabernoe. Festus, s. v. 

CRUSTULA'RIUS. One who 
makes and sells crustula. Senec. 
Ep. 56. 

CRUSTULUM. Diminutive of 
Crustum. Any small piece of pastry 
or cake, such as a pastrycook's tart ; 
especially given to children. Hor. 
Sat. i. I. 25. Juv. Sat. ix. 5. and 
Schol. Vet. ad I. 

CRUS'TUM. A fragment, or 
broken piece of bread, cake, or 
pastry. Hence the English crust. 
Hor. Ep. i. I. 78. Virg. s£n. vii. 114. 

CRUX. One of the machines or 
contrivances employed by the ancients 
for inflicting capital punishment upon 
criminals and slaves. It was made and 
applied in two different ways. Ori- 
ginally, it was an upright pole with a 
sharp point at the top (Greek arav- 
pbc, aicoXoxj/), upon which the victim 



was impaled, as still practised in the 
East ; a mode of punishment indicated 
by the expression in crucem suffigere 
(Justin, xviii. 7. Hirt. B.Afi: 66.), 
or in crucem sedere (Maecen. ap. 
Senec. Ep. 101.); but, subsequently, 
it was fitted with a transverse piece 
of wood, like our cross, upon which 
the condemned was fastened with 
nails, or bound with ropes, and then 
left to perish ; a mode of execution 
expressed by such phrases as cruci 
figere, or affigere, and the like. (Tac. 
Ann. xv. 44. Pet. Sat. hi. 5.) It 
would also appear from other passages 
(PI in. H. N. xiv. 3. pendei-e in cruce, 
Pet. Sat. 112. 5.), that criminals 
were likewise hung upon it, as upon 
a gibbet or gallows. 

CRYP'TA (icpv—TT}, or kpvtttt)). 
The original of our word crypt ; 
which, however, gives a very incor- 
rect notion of the object conveyed 
to the Greek and Roman mind by 
the same term. The ancient crypta 
comes nearest to our cloister, which it 
closely resembled ; being, in fact, a 
long narrow gallery, on the level of 
the ground (not subterranean, as 
commonly supposed), enclosed by 
walls on both sides, and receiving its 
light from rows of windows, in one 
or both of the side walls which in- 
closed it. Structures of this kind 
were frequently built as public edifices 
for the convenience of the population; 
in the pleasure-grounds of wealthy 
individuals (Seneca, Ira, ill. 18.); 
as adjuncts to great mansions ; to the 
promenades connected with a theatre 
(Suet. Cal. 58.); and very commonly, 
as we learn from numerous inscrip- 
tions (Muratori, Inscript. p. 481. 4. 
Rheines. Syntagtn. Inscript. ii. 28.) 
were attached to the side of an open 
colonnade {porticus); being intended as 
agreeable places of resort, when the 
heat of the season or inclemency of 
the weather rendered shelter accept-' 
able to an idle and luxurious popula- 
tion. Even the Praetorian guards had 
a crypta adjacent to their permanent 
camp at Rome, which was demolished 



CRYPT A. 



219 



by the orders of Hadrian when lie 
attempted to reform the discipline 



of trie corps. (Spart. Hadr, 10.) The 
above illustration, compared with 
the one which follows, will afford a 



correct idea of the real nature of the 
ancient crypt. It represents the 
ground plan of a public edifice con- 
structed by the priestess Eumachia at 
Pompeii, consisting of a aypta, por- 
ticus, and chalcidicum, all which 
members are enumerated in an in- 
scription affixed to the outside wall 
over the principal entrance. The. 
three corridors or cloisters marked 
A A A constitute the crypta. They 
are surrounded on three of the sides 
by a blank wall, decorated with fresco 
paintings ; on the inside are observed 
the windows which opened upon an 
adjoining colonnade, {porticvs). marked 
B B B B, which, in its turn, surrounds 
a large central area, C. Considerable 
remains of a similar structure are 
still to be seen on the site of ancient 
Capua, contiguous to the amphi- 
theatre ; and an example of these clois- 
ters, annexed to a theatre, is shown 
in the fragment containing the plan of 
Pompey's theatre, s. Theatrum. 

2. Enclosed cloisters of the same 
description, as far as relates to design 
and locality, were usually constructed, 
instead of open colonnades, round the 
inner court-yards of Roman villas 
[ and farm-houses, for the purpose of 




CHALCIDICUM 

B2Sna333 □ □ Q □ □ D G 3 




storing grain, fruits, and such produce 
as required to be kept free from 
damp, and yet not altogether ex- 
cluded from air. Vitruvius, there- 
fore, in giving a design for a model 
villa, very wisely recommends covered 
galleries (cryptic) to be constructed 
in the interior of farm buildings for 



such produce ; and the stabling, as 
well as magazines for less perishable 
commodities, to be situated in the 
open front court {vestihulum). (Vi- 
truv. vi. 5. 2. Compare Varro, R. J?. 
i. 57.) The illustration represents a 
view of the remains of the suburban 
villa of L. Arrius Diomedes at Pom- 



CA' VP TO FOR TIC US. 



CTESIBICA MA CHINA . 



peii, and shows very clearly the char- 
acter and style of these appurte- 
nances. On the left hand a portion 
only of the foundations remains ; but 
the right wing and centre are nearly 
entire, with a part of the first story 
of the villa behind them. From this 
a staircase, still entire, leads down 
into the crypta, which, it will not 
fail to be observed, is not a subter- 
ranean cellar, but on the level of the 
ground, and with windows opei irig 
into a square court, originally sur- 
rounded by the other stones built 
over the cloisters. 

3. "When the windows were closed 
with their wooden shutters, the whole 
corridor would form a long, narrow, 
dark vault ; whence the word, in 
poetical and metaphorical language, 
was transferred in a secondary sense 
to subterranean passages of various 
kinds : thus the main sewer, which 
passed down the Suburra, in continu- 
ation of the cloaca Maxima at Rome, 
is termed crypta Suburrae (Juv. v. 
106.); the tunnel, which passes under 
the cliffs between Naples and Posi- 
lipo, now the ' : Grotto of Pozzuoli," 
is designated crypta Neapolitana 
(Pet. Fragm. 13. Seneca, Ep. 57.) ; 
and the crypta, in front of which 
Quartilla offers her sacrifice (Pet. 
Sat. 16. 3.) may refer to this same 
grotto, or to a cloister attached to 
her house and gardens, like those 
described above. 

4. The stalls for the horses and 
chariots in a circus (Sidon. Car7n. 
xxiii. 319.) See the illustration and 
article, Cakcer, 2. 

CRYPTOPOR'TICUS. The term 
always employed by the younger 
Pliny when speaking of a structure 
similar to what is described under 
the last word. It appears to have 
been only another name, more fully 
descriptive, for Crypta ; or, if there 
was any real distinction between the 
two, it may be, that when the gallery 
had windows on both sides, as was 
the case with those in Pliny's villas, 
it possessed a considerable resem- 



blance to the colonnade (porticus), 
and was consequently distinguished 
by the name of crypto-porticus : when 
there were windows only on one side, 
and a blank wall on the other, such as 
those represented in the two preceding 
illustrations, it would be more appro- 
priately designated by the name of 
aypta simply. Plin. Ep. ii. 17. 16. 
seqq. Id. v. 6. 27-28. Id. vii. 21. 
2. Id. ix. 36. 3. 

CTESIBICA MACHTXA. A 
double-actimied forcing-pump, invented 
by Ctesibius of Alexandria, who 
lived in the age of Ptolemy Euer- 
getes (Vitruv. ix. 8. 2. Plin. H. N. 
vii. 38.), and constructed upon the 
principle now employed for our fire- 
engines. The machine is described 
at length by Vitruvius (x. 7.), from 
the writings of its inventor, which are 
now lost ; and a pump of similar 
character, but improved construction, 
probably after a model of Hero, the 
pupil of Ctesibius, was discovered 
near Civita Vecchia in the last cen- 
tury ; but as that does not contain 
all the parts mentioned by Vitruvius, a 
representation of it is inserted under its 
Greek name SiPHO, where the com- 
ponent parts of which it consists are 
explained from the description of Hero. 
In this place, only a conjectural dia- 
gram of the machina Ctesibica is 




introduced, designed by Perrault in 
accordance with the account of Vitru- 
vius ; but it will enable the reader, 
from a comparison of the two to- 
gether, to form an accurate idea of 
the nature of these machines, and the 
differetices between them. The parts 
mentioned by Vitruvius are : — cati- 
nus, the cup. A, which was not em- 



CUBIC ULARIUS. 



CUCULL US. 



ployed by Hero, who, instead of it, 
uses an upright tube (au)\i)v upOwt;) ; 
modioli gemelli, B B, the two boxes, or 
cases, in which the pistons {regulcs) 
act, corresponding with the Svo 
Trv^iSsg of Hero ; emboli masculi, two 
suckers (c c), same as t/jfio\i~ic, 
Hero ; fistula in furcillcc figura, two 
connecting pipes in the form of a 
fork, which in the pump of Hero are 
supplied by a single horizontal tube 
((TwA//i') ; and pcenula, the cowl (d), 
placed over the cup to compress the 
water at the foot of the hose ; not 
used by Hero. The operation of the 
machine is easily understood. It 
was placed over the reservoir, and 
both pistons worked together, the one 
being depressed while the other was 
drawn up ; as the sucker (c) rises, it 
draws up a supply of water through 
an opening at the bottom of the cy- 
linder (B), which is furnished with a 
movable lid (marked by dotted lines 
in the engraving), that opens as 
the water flows in, but closes of its 
own accord immediately that the 
piston is pressed down again ; and 
this pressure forces the water through 
the forked pipe into the catinus (a), 
the bottom of which, in like manner, 
is furnished with moveable lids over 
each pipe, alternately opening and 
shutting with each stroke of the pis- 
tons, which, as they move alter- 
nately up and down, force up the 
water in a continuous stream through 
the pcenula (D) into a pipe or hose 
affixed to the top of it, and made to 
any length required. 

CUBICULA'RIUS. A slave 
whose service was confined to the 
sitting and dwelling-rooms {cubicula) 
of a Roman house ; he waited in 
the antechamber, and announced his 
master's visitors, Sec. Cic. Verr. ii. 
3. 4. Id. Att. vi. 2. 

CUBIC'ULUM. Literally, a 
room furnished with a sofa or bed ; 
whence it became a general term 
for any such room in a private 
house, whether used as a sitting or 
sleeping-room (Plin. Ep. i. 3. I. cu- 



bicula nocturna et diuma, Id. ii. 17. 
21. Plant. Most. iii. 2. 7.); for the 
Romans were much in the habit of 
reposing upon sofas in the day-time 
at their studies, meals, siestas, and 
receptions. 

2. The emperor's box at the Circus 
or amphitheatre, wherein he reclined 
in state to view the games (Suet. 
Nero, 12. Plin. Paneg. 51.), instead 
of sitting on the open podium, as was 
usual in more simple times. 

CUBI'LE (Koirt]). In general, 
any place to lie down in, as a bed, or 
the room in which the bed is : whence 
more especially used to designate the 
marriage-bed (Virg. Ain. viii. 412. 
Eur. Med. 151.) ; a sleeping- room 
(Cic. Cat. iv. 8. Suet. Nero, 25.) ; 
and, indeed, like cubicuhim, any one 
of the small apartments in a private 
house usually Occupied by the master 
or his family. Plin. H. iV. xv. 10. 
salutatorium ; Plin. Paneg. 63. 3. 

CUBITAL' {vTrayic(ovioi'). A bol- 
ster or cushion for the elbow to rest 
upon, when the figure is otherwise in 
a recumbent position, such as was used 




for the convenience of invalids (Hor. 
Sat. ii. 3. 255.), or by persons when 
reclining at their meals (see Accubo). 
The illustration is from a figure on 
the top of an Etruscan tomb. 

CUBITO'RIA, sc. vestimenta. 
(Pet. Sat. 30. 11.) Same as Ccena- 
tori^e vestes. 

CUCUL'LIO or CUCU'LIO. 
Diminutive of CUCULLUS ; the dimi- 
nutive expressing inferiority of quality 
rather than of dimensions. Lamprid. 
Elag. 32. mulionico ; Capitol. Ver. 4. 
vulgari viatoiio ; Cato, R. R. ii. 3. 

CUCUL'LUS. A piece of paper 
rolled into the shape of a funnel, in 



222 



CUCULLUS. 



CUDO. 



which the chemists and other trades- 
people of Rome used to wrap the 
powders and drugs bought by their 
customers (Mart. Ep. iii. 2.), pre- 
cisely as grocers and chandlers' shop- 
keepers do at thepresent dayinEngland. 

2. From similarity in form to the 
preceding, a hood or cowl attached to 
some other garment, such as the 
lacenia, sagum, pcSmda, &c, which 
could be drawn up over the head, to 
serve instead of a hat ; and was com- 




monly worn by slaves, rustics, fisher- 
men, and persons whose occupations 
exposed them to the weather at all 
seasons, like the cowl of the Capu- 
chin friars, and modern Neapolitan 
fishermen. (Columell. xi. I. 21. 
Mart. Ep. xi. 98. 10. Juv. vi. 118. 
Pallad. i. 43. 4.) The above illustra- 
tion is from a painting at Pompeii, re- 
presenting a group of common people 
drinking in a tavern {caupona). When 




it was desired to uncover the head, 



the cowl was pushed back, and rested 
on the upper part of the back, in the 
manner shown by the second en- 
graving, representing another of the 
figures in the same group. The first 
of these illustrates Cicero's description 
of M. Antony {Phil. ii. 31.), domuvi 
venit capite involute; the latter one, the 
caput aperuit, of the same passage. 

3. Cucullus Bardaicus (Jul. Cap. 
Pertinax, 8.) ; same as Bardoctj- 

CULLUS. 

4. Cucullus Liburnicus (Mart, in 
Lemmate, xiv. 139) ; same as Bar- 
docucullus. 

5. Cucullus Santouicus (Juv. viii. 
145.) ; same as Bardocuculi.us ; 
from the town of Saintes in France, 
where the manufacture of these arti- 
cles was introduced from Tllyria. 

CUC'UMA. A vessel employed 
for boiling water, making decoctions, 
and similar purposes, the precise 
form and character of which there 
are no materials for determining. 
(Pet. Sat. 135. 4. Id. 136. 2.) The 
word, however, is still retained in the 
colloquial language of the modern 
Romans, in which " la cucuma " 
means a vessel for boiling water. 

CUCUR'BITA and CUCUR- 
BIT'ULA (koXckvi'Ot], auvci). A 
pu mpkin , o r gourd ; 
thence, a cupping- 
glass, which the 
ancients made out 
of those fruits (Juv. 
Sat. xiv. 58.), as 
well as of horn or 
bronze. (Celsus, 
ii. 11.) The example represents an 
ancient original made out of a pump- 
kin, now preserved in the Vatican 
Library, and published by Rhodius. 

CUDO or CU'DON {KarairvE, 
\itoq 7rspiKf<f)d\aiO(;). 
The simplest form 
of helmet, con- 
sisting of a mere 
scull cap, without 
any ridge-piece 
{apex) or crest 
{crista) (hence, d<pnXo^ re icai a\o<poc, 





CULCITA. CULINA. 22$ 



Horn. //. x. 258. ), made out of leather 
or the skin of wild animals (Sil. Ital. 
viii. 493.), and fastened under the chin 
by a thong (o^fwc). It was worn by 
some of the Roman light-armed troops 
(Polyb. vi. 22.) ; is ascribed to Dio- 
medes by Homer, and is frequently 
seen in Greek representations of that 
hero, from one of which in bronze the 
annexed example is taken. 

CUL'CITA {rv\rj, arpojfxvi]). A 
mattrass for a sofa, couch, or bed, 




stuffed with wadding, wool, or fea- 
thers (Varro, L. L. v. 167. Pet. Sat. 
38. Cic. Tusc. iii. 19. Seneca, Ep. 
87.) ; which, consequently, was some- 
times very soft, like our feather beds, 
and at others, like our wool and hair 
mattrasses, sufficiently hard not to 
take an impression from the body 
resting upon it. (Seneca, Ep. 108.) 
The illustration is from a painting at 
Pompeii. 

CU'LEUS or CUL'LEUS. A 
very large sack made of a pig's-skin 
or leather, and employed by the Ro- 
mans for the transport of wine or oil 
(Nepos, Eum. 8. Plin. H. N. vii. 19. 
Cato, R. R. xi. I.), as represented by 




the annexed illustration, from a paint- 



ing at Pompeii, which shows the 
manner of transporting it on a cart 
frame, of emptying its contents into 
smaller vessels {amphorce), and how 
it was filled ; viz., by the neck at the 
top, which was then tied up with a 
cord. A contrivance of precisely the 
same kind is still employed in Italy 
for the transport and sale of oil. The 
size, of this will likewise account for 
another use to which it was applied 
by the ancient Romans, for sewing 
parricides in. Cic. Q. Er. i. 2. 2. 

2. Also a liquid measure ; the 
largest used by the Romans, contain- 
ing twenty am • phone, or 118 gallons, 
and particularly employed in estimat- 
ing the produce of a vineyard or olive 
ground. Rhemn. Fann. de Pond, 
et Mens. 86. Varro, R. R. I. 2. 7. 

CULIG'NA (kuAi'xi'*?), A vessel 
for wine, the exact nature of which is 
not ascertained. Cato, R. R. 132. 

CULI'NA {onraviov). A kitchen. 
(Cic. Earn. xv. 18. Pet. Sat. 2. 1. 
Seneca, Ep. 114.) The illustration 
represents a kitchen stove in the house 




of Pansa at Pompeii, with some cook- 
ing utensils upon it, as discovered when 
first excavated ; viz., a strainer (co- 
hem), a kitchen knife {ctdter coquina- 
ris), and an implement for dressing 
eggs (supposed apalare) ; below is 
the ground-plan of a kitchen in the 
same city, from the house of the 
Qusestor, distributed into the fol- 
lowing parts. Immediately on the 



224 



CUL TELL US. 



CULTER. 



left hand of the entrance there is a 
semicircular sink (i), and on the 
right a staircase (2), which probably 
led up to the store-rooms ; fronting 
the entrance are the remains of the 
brickwork which formed the stove 
(3), similarly constructed to the ele- 
vation above ; and adjoining this 
is another small chamber (4), which 
we might call the back kitchen, with 
a privy (5) at its furthest extremity ; 
a convenience which, singularly 
enough, is generally found adjacent 
to the kitchens in the houses of 
Pompeii. 

CULTEL'LUS (fiaxaipic, fxaxal- 
piov). Diminutive of Culter : and 
employed in nearly the same senses, 
only designating a lesser description 
of each kind. But the cultellus is 
never so small as our pocket and 
pen -knife (scalpru/u) ; for Juvenal 
designates a carving-knife by the di- 
minutive {Sat. v. 122.) ; Ulpian 
{Dig. 9 2. II.), a barbers razor; 
and the cultellus of Horace (Ep. i. 7. 
51.), which people used to clean and 
pare their nails with, was the same as 
the barber's instrument, which is ex- 
pressly named for that purpose by 
Valerius Maximus (iii. 2. 15.), cultel- 
lum tonsorium quasi unguium resecan- 
dorum causa pofoscit. 

2. Cultellus ligneus. A wedge of 
wood ; which is sharper at the edge 
than at the back, like the blade of a 
culter. Vitruv. vii. 3. 2. 

CUL'TER \\ia.^aipa). The name 
given by the ancients to several diffe- 
rent implements employed in cutting, 
which were made with a single edge, 
broadish back, and a sharp point ; all 
of which were used for domestic or 
agricultural, and not military, pur- 
poses, excepting when descriptive of 
the barbarous ages, or to characterise 
the a-sassin rather than the soldier. 
Our knife is. perhaps, the nearest 
translation, but the ancient culter is 
mostly applied to the largest class 
of instruments, which pass by the 
name of knives amongst us. The 
several kinds, with the epithets which 



distinguished them, are enumerated 
below. 

I. Culter coquinai is. A cook's 
knife or kitchen-knife (Varro, ap. 
Non. s. v. p. 195. ), for cutting up 
meat. The illustration is from an 




original discovered in a kitchen at 
Pompeii. Butchers also made use of 
a similar implement for the same 
purpose. Liv. iii. 48. Herod, ii. 61. 
2. The knife employed by the cul- 
! trarius at a sacrifice for cutting the 
j victim's throat (Plaut. Rud. i. 
2. 45.) ; and by the butchers / 
in the slaughter-house (Varro, | 
j R. R. ii. 5. 11.) ; frequently re- I 

I presented on sepulchral bas- jL I 

I reliefs, from one of which the fa 
annexed specimen is taken. | 
where the inscription Cul- ^ 
TRARI Ossa identifies the instrument. 
• Compare the engraving s. Cultra- 
| Rius, in which it is seen in use. 
j 3. Culter venatorius. A hunts- 
man's knife, carried from a belt round 




the waist, with which he despatched 

his prey at close quarters (Pet. Sat. 

40. 5. Suet. Aug. 19); similar to 
' that used by the men who fought 

with wild beasts in the amphitheatre ; 

see the first illustration to Bestt- 

ARIUS. The example is copied from 
I an engraved gem. 

4. The sharp edge or flat part of 

the blade in a vine-dresser's pruning- 




hook {falx vinitoria), which, in the 
annexed engraving, from an old 
MS. of Columella, lies between the 
handle and the hook at the top (Co- 
lumell. iv. 25. 3.), and which was 
particularly brought into use for 

I lopping and cutting off. 

\ > Culter tonsoiius. A sort of 



CULTRARIUS. 



CUNABULA. 



knife or razor which barbers used 
for shaving. (Cic. Off. ii. 7. Pet. 
Sat. 10S. 11. Plin. H. N. vii. 59.) 
Also designated by the diminutive 
cultellus, and probably having a blade 
with a point shaped like the hunts- 
man's knife (Xo. 3.), for it was used 
for keeping the nails clean. Hor. 
Ep. i. 7. 51. compared with Val. 
Max. iii. 2. 15. 

6. A knife made of bone or ivory, 
for eating fruit with (Columell. xii. 
45. 4.) ; also termed cultellus. Plin. 
H. N. xii. 54. 

7. The coulter of a plough ; formed 
like the blade of a large knife, and 
inserted vertically in front ot the 
share {vomer. Plin. H. N. xviii. 48.), 




as is clearly shown by the annexed 
illustration, from an engraved gem. 

8. In cidtrum collocates. A tech- 
nical expression in use amongst Ro- 
man architects and mechanics, when 
speaking of objects placed upon their 
smallest sides or narrowest edges ; 
as of bricks or stones in a building 
set upon their sides, instead of laid 
in the usual manner, with their 
broadest surfaces upwards. (Vitruv. 
x. 5.) The modern Italians make 
use of a similar metaphor, " per col- 
tello" when they wish to express the 
same kind of arrangement. 

CULTRA'RIUS. The minister 
or servant of an officiating priest, who 
despatched the victim at a sacrifice, 
by cutting its throat with a knife 
[putter) y as contradistinguished from 
popa, who knocked it down with a 
blow of the axe [securis) or mallet 
{malleus). (Suet. Cat. 32. Inscript. 
ap. Grut. 640. 11.) The illustration, 
from a very beautiful marble bas- 
relief discovered at Pompeii, repre- 
sents an old woman and a Faun 



about to offer up a pig in sacrifice, 
the former in the character of a 




priestess, the latter as a cultrarius. 
cutting its throat. 

CULUL'LUS. According to the 
Scholiasts on Horace, an earthenware 
calix employed by the pontifices and 
A'estals in their sacrificial rites ; but 
commonly used in a general sense 
for any kind of drinking- cup. Acron. 
and Porphvr. ad Hor. Od. i. 31. II. 
Hor. A. P. 434. 

CUM'ERA. A sort of tub, pan, 
or basket, with a convex lid, used by 
the country people for keeping corn 
in. Festus, s. Cumerum. Hor. Epist. 
i. 7. 30. Id. Sat. i. I. 53. Acron. ad I. 

CUM'ERUM. A covered vase, 
or, perhaps, basket, carried by the 
camillus in a marriage procession 
(Varro, L. I. vii. 34.), and contain- 
ing the necessaries (utensilid) of the 
bride. Festus, s. v. 

CUNA'BULA. A child's cradle. 
(Cic. Div. i. 36. Plaut. Amph. v. I. 
55. Serv. ad Virg. Eel. iv. 23. Ar- 
110b. adv. Gent, iv.) The example is 
from a very ancient MS. of Gene- 
sis, published by 
Lambeccius {Com- 
ment. Bibl. Cces. 
iii. 29.) ; but an- 
cient cradles were 
also commonly made in the shape of 
a trough or boat, as in the next illus- 
tration ; whence a Greek name for the 
same is oica<pti. A then. xiii. 85. 




226 



CUNM. 



CUNICUL US. 



2. Hence the place in which any 
living thing is born : a birth-place 
(Prop. iii. I. 27.) ; a bird's nest 
(Plin. H. N. x. 51.); a bee-hive. 
Virg. Georg. iv. 66. 

CUN^E. Same as Cunabula. 
Cic. Div. i. 36. 

CUNA'RIA. A nurse, who 
rocked an infant in its cradle, washed 
it at its birth, wrapped it in swaddling 
clothes, &c. (Inscript. ap. Grut. 
311. 7. Compare Mart. lip. xi. 39.) 




The illustration is from a marble bas- 
relief at Rome. 

CUN'EUS {afiiv). A wedge; a 
body of wood, iron, or other sub- 
stances, with a thin edge gradually 
thickening upwards, employed for 
splitting (Virg. Georg. i. 144.), tight- 
ening, and fastening. Cic. Titsc. ii. 10. 

2. When applied to ships (Ovid. 
Met. xi. 514.), the exact meaning 
of the term is doubtful. Some sup- 
pose that it is used to designate 
projecting pieces of timber fastened 
to the sides and bottom of a vessel 
to protect it from rocks ; others, 
the timbers themselves put together 
in the form of a wedge, like what is 
now called " diagonal trussing ; " or 
thin wedges of wood driven in toge- 
ther with the tow, by which the 
seams are caulked. Scheffer, Mil. 
Nov. i. 6. 

3. (fcfp/ctf). A compartment of 
seats {gradus, sedilia, subsellia) in a 
theati-e or amphitheatre (Vitruv. v. 
6. 2. Suet. Aug. 44.), comprising the 
several rows contained in each tier 
(mcenianum) between a pair of stair- 
cases (scales). The illustration, 
which represents a portion of the 
interior of the larger theatre at Pom- 



peii, shows six of these cunei, or 
compartments of seats, three in the 
lower tier, and three in the one above, 
with two flights of stairs in each, 
down which the spectator walked 
when he entered the theatre through 
either of the doors (vomitoria) at the 
top, until he arrived at the particular 
row in the cuneus on which his seat 
was situated. These compartments of 
seats were termed wedges on account 




of their cuneiform appearance, being 
narrowest at the bottom, and gradually 
expanding upwards as the circuit of 
the theatre increases ; see the parts 
marked B on the general plan s. 
Theatrtjm, i., where the form is 
more characteristically displayed. 

4. A wine bin, constructed with 
rows of shelves rising one over the 
other, like the seats of a theatre, and 
upon which the wine was deposited 
to ripen, after it had been drawn off 
from the bulk into amphora , or, as 
we should say, bottled. Cato, R. R. 
ii. 3. 2. Pontedera, Curce Posth. ad I. 

5. (tfjfioXoc). A body of soldiers 
drawn up in the shape of a wedge. 
Liv. xxii. 47. Veg. Mil. iii. 19. 
Polyb. i. 26. fin. 

CUNICULA'RII. Sappers and 
miners; or soldiers who effect an 
entrance into a town from a mine 
(curie ulus). V eg. Mil. ii. 1 1. Am- 
mian. xxiv. 4. 22. 

CUNICUL ATO'RES. Same as 
the preceding. Luctat. in Stat. Theb. 
ii. 418. 

CUNIC'ULUS (vttoio//oc). Any 



CUNULsE. 



CURIA. 



227 



subterranean passage, but more espe- 
cially a mine in military operations. 
Veget. i. 6. Li v. v. 21. Ammian. 
xxiv. 4 21. 

CU'NUL/E. Diminutive of Cu- 
NiE ; a small or common sort of 
cradle. Prudent. Cathem.xXx. 164. Id. 
xi. 98. 

CU'PA (ycwXoc). A cask, or 
made with wooden staves [ta- 
bula, Pallad. i. 38. 1.), and bound 
round with iron hoops (circuit, Pet. 




Sat. 60. 3. Plin. H. N. xiv. 27.). in 
which M ine, vinegar, and other arti- 
cles were kept and transported from 
place to place ; whence vimim de cupa 
(Cic. Pis. 27 ) is equivalent to our 
expression out of the wood. The 
example is copied from the Column 
of Trajan. 

2. (km-)}). An oblong block of 
wood, forming one of the component 
parts in a trapetum, or machine for 
bruising oli\ r es. It was made of elm 
or beech, and perforated through its 
centre, in order to be slipped on to a 




thick iron pivot (columella ferrea), 
which projected from the top of the 
stone cylinder (miharium) in that 
machine. The object of it was two- 
fold : to form a block for receiving 
the ends of the axles, which are in- 
serted in it in the engraving, and on 
which the wheels (orbes) were sus- 
pended, while at the same time it 
enabled them to move in a circular 
direction round the bruising vat 
(mortarhim) by turning round the 
pivot passing through its centre from 
the top of the upright stone cylinder 
on which it was placed. It was, 
therefore, cased with plates of metal, 
to prevent friction. (Cato, R. R. 



xxi. 1-4.) The specimen here in- 
troduced is restored from the frag- 
ments of a trapetum discovered at the 
ancient Stabia, the wood-work of 
which had perished, but the iron 
plates remained entire, as well as the 
portions of the two axles inserted in it. 
The figure, however, sufficiently ex- 
plains the meaning of the name, and 
why it was so called ; for the word, in 
its literal sense, signifies the handle of 
an oar (Diodor. Sic. iii. 3. and Agath. 
quoted by Wesseling ad /.), to which 
the cupa of a trapetum, as shown by 
the engraving, bears a close resem- 
blance. The situation occupied by it 
on the machine, and the manner in 
which it acted, will be better under- 
stood by referring to the illustration 
s. Trapetum, where it is marked 5. 

CUPE'DTA or CUPE'DI/E. De- 
licacies for the table. Festus, s. 7: 
Plaut. Stick, v. 4. 32. 

CUPED1NARIUS and CUPE- 
DIA'RIUS. A general term, in- 
cluding all dealers in provisions of the 
choicer kinds, such as poultry, game, 
fish, &c, (Terent. Eun. ii. 2. 25. 
Lamprid. Elag. 30.) The market 
where they had their stalls was 

\ called Forum cupedinis. Varro, L. L. 

I v. 146. 

CUPEI/LA. Diminutive of 
Cupa, i. Pallad. iii. 25. 12. Apic. i. 2. 
CU'PULA. Diminutive of Cupa, 

I i. (Ulp. Dig. 33. 6. 3.)-; of Cupa, 

1 2. Varro, R. R. xxi. 3. 

I CURCU'MA. A kind of halter. 
(Veget. iii. 33. 1.) See Ducang. 
Gloss. Grcec. et Lat. s. v. 

CU'RIA. A common hall, or place 
in which any corporate body, such, 
for instance, as the curia of the 
Roman burghers, met to transact 
matters connected with their body, 
or to perform religious duties ; 
whence the word came to be applied 
more specially to the building in 
which the Roman senate met to carry 
on their deliberations. There were se- 
veral of these in the city distinguished 
from one another by the names of 

j the individuals who dedicated them ; 



228 



CURIO. 



CURRUS. 



as the curia Uosiilia, Julia, Pompeia, 
but the former was the one mostly 
used for the senate house. Yarro, 
L. L. v. 155. Id. vi. 46. Benecke 
ad Cic. Cat. iv, 1. 2. 

CU'RIO. The priest of a corpo- 
rate body {curia), who "was appointed 
to perform the rites of religion on 
behalf of the corporation. (Varro, 
L. L. v. 83.) Each of the thirty 
Roman curue had one curio, who 
acted as the chief of his own corpora- 
tion; but from these one was ap- 
pointed as president over the whole, 
with the title of Curio Maximus. 
Paulus op. Fest. s. Maximus. Liv. 
xxvii. 8. 

2. A public crier. Mart Epist. 
Prof. ii. Trebell. Gallien. 12. 

CURIS. A Sabine word for a 
spear. Ovid. Fast. ii. 477. Hasta. 

CURRICULUM. Diminutive of 
Currus. Cic. Har. Resp. 10. Suet. 
Cal. 19. Ovid. Prist, iv. 8. 36. 

2. The course or space run over by 
each chariot at a race in the Greek 
Hippodrome, or Roman Circus. Hoi\ 
Od. i. 1. 3. Plaut. Trim iv. 4. 11. 

CURRUS. A Roman chariot, or 
carriage upon two wheels, which was 
entered from behind, but was close 
in front, and open overhead. It was 




also constructed to contain two per- 
sons, the driver and another, both 
standing, and was drawn by two, 
three, or four horses, and occasionally 
even by a greater number. (Cic. 



Ovid, Virg. &c. ) The example is 
from an original now preserved in 
the Vatican, made of wood, but 
covered with plates of bronze. "vVhen 
found, it was broken into many 
pieces, which have since been put 
together. A front view of the same 
is given at p. 72. 

2. (upfia). The n'ar charwt used 
by the Greeks of the heroic ages ; 
which was of a similar construction 
to the one last mentioned, but of a 




lighter character, being partially 
formed with open rail-work instead 
of close panelling, as shown by 
numerous, examples on fictile vases, 

I from one of which, found at St. 
Agatha, formerly Saticola, the an- 

I nexed engraving is copied. 

3. Curj'us volucris {ttti]vov uo/ia). 

! A chariot with wings attached to the 




extremities of the axle-tree, fancifully 
attributed by poets and artists to 
the cars of Jupiter and Apollo (Hor. 

I Od. i. 34. 8. Plato, Pheed. torn. ix. 
p. 321. Bipont), and frequently re- 

1 presented on fictile vases, from one 
of which the annexed illustration is 

I copied. 

J 4. Currus triumphalis. A trium- 



CURSOR. 



CUSP IS. 



220 



phal car, in which the Roman general 
was carried at his triumph. This 
was not open at the back like the 
ordinary currus, but was completely 
circular, and closed all round (Zonar. 
yi. 21.), as shown by the annexed en- 
graving, from a medal of Vespasian, 




and in the woodcut s. Corona, i., 
which shows the persons in it. Its 
panels were also decorated with 
carvings in ivory, which are apparent 
in the present example, whence it is 
designated as the ivory car (currus 
edttrneus, Pedo Albin. El. i. 333.). 

5. {dfuct^a). A plough with wheels, 
or the carriage part of such a plough. 
(Virg. Georg. i. 174. Hesiod. Op. 424.) | 
See the illustration s. Cult'er, 7. 

6. Currus falcatus. A war-chariot 
furnished with sharp blades of iron, 
or scythes affixed to the end of the 
pole and of the axle-tree, chiefly ! 
employed by foreign nations. Several 
descriptions of these carriages have 
come down to us, but no representa- 
tions of any one on works of art ; 
consequently, the exact manner in 
which the offensive weapon was at- 
tached has not been ascertained. Liv. 
xxxvii. 41. Curt iv. 9. Hirt. B. Alex. 
75. Val. Flacc. vi. 105. 

CURSOR {gtciCuvc, aracioSponoc), 
A runner, who runs a race in the 
stadium. (Cic. Tusc. ii. 23. Nepos, 
Milt. 4.) The female figure intro- 
duced s. Strophium.i., is believed to 
represent a Spartan damsel equipped 
for the foot-race. 

2. A racing jockey. (Ovid. Pont. 
iii. 9. 26. ) See Celes. 

3. A private postman or messenger 
who carries letters on foot or on 
horseback (Mart. iii. 100. Suet. Nero, 



49.) ; more especially termed Tabel- 
larius, which see. 

4. A slave kept by great people to 
precede their carriages on foot, simi- 
lar to the running footman of modem 
Europe. Seneca, Epist. 126. Mart. 
Ep. iii. 47. 14. 

CURU'LIS. An epithet very 
generally applied to anything re- 
lating to a chariot {currus) ; as equus 
curulis, a carriage-horse ^Festus, 
s. v.) ; triumphus curulis, a regular 
triumph, in contradistinction to an 
ovation, because at the former the 
general entered the city on a car, but 
at the latter on foot or on horseback 
(Suet. Aug. 22. Compare Tib. 9.) ; 
ludi curules, the Circensian games, 
at which the chariot races took place 
(Minucius Felix, 37.); sella curulis, 
a portable chair which the magis- 
trates of Rome carried about with 
them ; described and illustrated under 
Sella. 

CUSPIS {aixnn). A point ; of 
anything generally which is pointed ; 
but more especially used to designate 
the pointed head of a lance, spear, or 
javelin, when made without barbs, as 



contradistinguished from spictilum , 
which expresses a barbed point. 
(Virg. AUn. xii. 510. Sil. Ital. xiii. 
167). The illustration represents 
two Roman spear-heads of the most 
usual forms, from originals. 

2. A sharp point, or spear-head, 
affixed to the top of the Ro- 
man ensigns (Suet. Jul. 62.), 
which the standard-bearers 
converted into a weapon of 
offence, when hard pressed 
at close quarters. It is 
clearly seen in the annexed 
engraving, from Trajan's 
Column, above the eagle. 

3. A sharp point, or spear-head, 
projecting from the top of the thyrsus 
(Catull. 64. 257.'), which is promi- 
nently visible in the next engrav- 
ing, from a painting at Pompeii ; 



2.^0 



CUSTODES. 



CYC LAS. 




where it is represented above the 
leaves, which usually termi- 
nate the shaft, in order 
to show that the painting 
was intended to bear an 
allusion to the fable which 
relates that Bacchus and ^ 
his followers, upon cer- \p 
tain occasions, converted 
their thyrsi into offensive 
weapons, by concealing a 
lance-head in the leaves. Macrob. 
Sat. i. 19. 

4. The point of a spit for roasting 
meat; and thence the spit itself {vent). 
Mart. Ep. xiv. 221. 

5. The pointed end of Neptune's 
trident ; and thence the weapon itself 
[fuscma, tridens\. Ovid. Met. xii. 
580. 

6. An earthenware tube employed 
in the cultivation of vineyards, so 
called because it was made sharp and 
pointed at one extremity, for the pur- 
pose of being fixed in the ground. 
Varro, R. R. I. 8. 4. 

CUSTO'DES. A general name 
given to those who have the care or 
guardianship of other persons or 
things ; but employed in a more spe- 
cial sense to designate the officers 
who acted as scrutineers at the Comi- 
tia. Their duty consisted in receiving 
the votes {tabellce) as they were taken 
out of the balloting-basket {cista) by 
the Diribitores, and in pricking off the 
result upon a tablet ; whence the al- 
lusion of Horace, omne tulit punctum, 
&c. Cic. in Senat. 7. Id. Agr. ii. 
9. Varro, R. R. iii. 5. 18. 

CY'ATHUS {KvaQoc). A cup 
with one handle, employed 
by the Greeks as a ladle 
for filling the wine-goblets 
{pocula, calices) of each 
person at table out of the 
common bowl {crater) ; and 
subsequently adopted by the Ro- 
mans for a similar object. In very 
early days, the simpulum was the only 
vessel used for this purpose at the 
domestic table, and at the sacrifice ; 
but as luxury and refinement in- 




creased, the latter came to be appro- 
priated for making libations to the 
gods, and the cyathus confined to the 
feasts of men. (Van-o, L. L. v. 
124.) The example is from an ori- 
ginal of earthenware. 

2. A small measure, both of liquid 
and dry things, containing the twelfth 
part of a sextarins. Rhemn. Fann. 
de Pond, et Mens. 80. Compare 
Pliny, xxi. 109. 

CYB^E'A. A sort of transport 
ship, or merchantman, of consider- 
able size (Cic. Verr. ii. 4. 8. Ib. ii. 
5. 17.), the distinctive properties of 
which are, however, unknown. 

CYBIA'RIUS. A dealer in 
salted fish. Arnob. ii. 70. 

CYBIOSAC'TES (Kv$ioaciKTr\c). 
A dealer in salt fish ; a nickname 
given to the Emperor Vespasian 
(Suet. Vesp. 19.), and to the Thir- 
teenth Ptolemv. Strabo. xvii. I. II. 

CYCLADATUS. Wearing the 
cyclas; an article of female attire, and, 
therefore, indicative of great effe- 
minacy of manners when adopted by 
men, as was sometimes the case with 
the Emperor Caligula. Suet. Cat. 52. 

CYCLAS [kvkXcu). One of the ar- 
ticles of female apparel, consisting of 
a long and loose piece 
of drapery, generally 
made of a very fine 
texture, and wrapped 
round the body in the 
same manner as a 
pallium, being suffi- 
ciently ample to en- 
velop the whole 
figure, if required, 
and having a border 
of purple colour or 
gold embroidery all 
round its edges, from 
which peculiarity the name is be- 
lieved to have arisen. (Serv. ad 
Virg. Ain. i. 282. luv. vi. 259. 
Prop. iv. 7. 40. Lamprid. Alex. Sev. 
41.) All these particulars are dis- 
tinctly visible in the illustration an- 
nexed, representing Leda in her cyc- 
las, from a painting at Pompeii. 




CYLINDRUS. 



CYMBAL UM. 



231 



CYLIN'DRUS (Kv\u>dpo<:). A 
roller, for levelling and condensating 
the ground in agricultural and other 
operations. (Virg. Georg. i. 178. Vi- 
truv. x. 6.) The illustration here in- 
troduced from Fellows' Journal in 
Asia Minor, p. 70., represents a roller 
made out of the trunk of a tree, and in- 
tended to be drawn by cattle. When 
used it does not revolve, being simply- 
dragged over the ground, and some- 
times weighted by the driver stand- 
ing upon it ; but as so many of the 
agricultural implements now used in 
the East are found to preserve the 
exact character of their ancient ori- 




ginals, it is probable that rollers of 
this description were sometimes em- 
ployed both by the Greeks and Ro- 
mans ; though revolving cylinders, 
like our own (Columell. xi. 3. 34.), 
were certainly not unknown to them. 

CYMAT'IUM (KVfxdnoj'). An 
architectural moulding, employed in 
cornices, friezes, and architraves 
(Vitruv. iii. 5. 10-12.), having at 
the top a full and swelling outline, 

which sinks into a hollow be- 

low, without making any an- ^ 

gle, like the undulation of a wave 
(icu[j.a, cyma), from which resem- 
blance the name arose. It is called 
an " ogee " by our workmen, and 
" cyma reversa " by modern archi- 
tects, to distinguish, it from the "cyma 
recta," the contour of which is hollow 
above and full below. See SiMA. 

CYM'BA A small boat 

used upon rivers, and by fishermen, 
rising at both ends, so as to form a 



hollow in the centre, whence distin- 
guished by the epithet adunca (Ovid. 




Met. i. 293.), or concava. (Ovid. 
Am. iii. 6. 4.) It was usually rowed 
by one man, as in the example, from 
an ancient Roman painting, or by 
two at the most ; and is the name 
especially given to Charon's bark. 
Hor. Od. ii. 3. 28. Virg. Ain. vi. 303. 

CYMBALIS'TA (KV/nfiaXiar^). 
A man who plays upon the cymbals, 
(cymbalo), in the manner represented 
by the next illustration. Apul. Deo 
Socrat. p. 685. 

CYMBALIS'TRIA {Kv(3^a\ia- 
rpia). A female player upon the 




cymbals, as shown by the example, 
from a painting at Pompeii. Pet. 
Sat. 22. 6. Inscript. ap. Grut. 318. 12. 

CYM'BALUM {icb^aXov). A 
cymbal ; a musical instrument, con- 
sisting of two hollow half globes 
(Serv. ad Virg. Georg. iv. 64. Lu- 
cret. ii. 619.) of bell metal, with a 
ring at the ^ — 
top, by which i ;yl ~j 
they were held j 
between the <JRI||»^!^F 
fingers, and fcgl ^Ld^ ^) 
clashed toge- ms '^ y ~ / 
ther with both hands, as represented 
in the preceding illustration. They 
were especially adopted by the vota- 



232 



CYMBIUM. 



DALMA TIC A TUS. 



ries of Cybele (Virg. /. c), and of 
Bacchus (Liv. xxxix. 8. and io.) ; 
and being always used in pairs, as in 
the example from a painting at Pom- 
peii, the word is mostly used in the 
plural. 

CYM'BIUM (icvupiov). A drink- 
ing-bowl, with two handles (Apul. 
Met. xi. p. 239.), so called from 
a certain resemblance in its outline 
to the bark termed cymba (Festus, 
s. v. Macrob. Saturn, v. 21.), as is 
exemplified by the annexed ex- 
ample, from a bronze original found 
at Pompeii. It 
was sometimes f(^) 
employed for 
containingmilk 
(Virg. iii. 
66.), and was 

also made of the precious metals 
(Virg. ALn. v. 267.), as well as of 
earthenware. Mart. Ep. viii. 6. 

CYNOCEPH'ALUS (kwoks- 
(f>a\oc). A species of ape, with a 
head like a dog's (Simla Inuus. L.) ; 
kept as a sacred animal in the tem- 
ples of Isis, and frequently repre- 
sented in the Egyptian sculptures and 
paintings. Cic. Aft. vi. I. Plin. 
H. N. viii. So. 

2. Dog- headed ; an epithet given 
to the Egyptian deity Anubis, who is 
represented with a dog's head. Ter- 
tull. Apol. 6. Minucius Felix in 
Octav. 22. 



1), 



DACTYLIOTHE'CA {SaKTvXio- 
9i]Ki}). In general, a collection of gems, 
which the ancients, like ourselves, 
were in the habit of collecting and 
preserving in cabinets for their value 
and beauty. Plin. H. A 7 , xxxvii. 5. 

2. A case or box for finger-rings, 
in which they 
were deposited 
when not in 
use, or when 
removed from 
the fingers at 
night. (Mart. Ep.xi. 59. Id.xiv. 123.) 




The illustration represents an ivory 
case of this kind, from an original 
found in Pompeii, with an upright 
stick on the top of the lid for string- 
ing the rings upon, in the same 
manner as now practised on a lady's 
toilette table. 

DADU'CHUS (^Sov X oc). Pro- 
perly, a Greek term, meaning a 
torch-bearer ; but it is specially used 
to designate the person who, on the 
fifth day of the Eleusinian mysteries, 
conducted the initiated, with a torch 
in his hand, to the temple of Demeter 
at Eleusis, in commemoration of her 
wandering about with a lighted torch 
to seek for her daughter Persephone. 
Fronto. ad Verum Imp. Ep. I. In- 
script. ap. Fabretti, p. 676. n. 29. 

D.EMON (8ainu>i>). Properly, a 
Greek word, signifying a good spirit, 
who was supposed to preside over 
every individual during his lifetime ; 
translated by the Latin words Lar 
and Genius ; which see. Apul. 
Deo Socrat. p. 674. Cic. Univers. 11. 

2. By the ecclesiastical writers of 
the Christian era, always in the 
sense of an evil spirit, or devil. Lac- 
tant. ii. 14. Tertull. Apol. 22. 

DiEMON'IUM (cnifidino, ). Di- 
minutive of DAEMON ; and, like that 
word, employed by the heathen 
writers to signify a good spirit ; by 
the Christians for an evz'Z one. Cic. 
Div. i. 24. Tertull. Apol. 21. 



DALMATICA'TUS 
the Dalmatic robe, 
which was a long 
frock made of 
white Dalmatian 
wool. It reached 
as low as the feet, ^ 
was decorated 
with purple stripes 
down the front, 
and had a pair of 
very long and 
loose sleeves, 
which covered 
the whole arm as 
far as the wrists. 
It was not worn bv 



Wearing 




the Romans in 



DARDANARIUS. 

early times, and never, perhaps, came 
into general use ; but was always 
regarded as a mark of singularity or 
luxurious habits, even at a late pe- 
riod of the Empire, until it came to 
be adopted by the Roman Catholic 
clergy, under the early popes. (Isi- 
dor. Orig. xix. 22. 9. Lamprid. Corn- 
mod. 8. Id. Heliog. 26. and Alcuinus, 
De Divinis Officiis.) The illustra- 
tion, which corresponds exactly with 
the above description from Origen, is 
copied from one of the miniatures in 
the Vatican Virgil, which are sup- 
posed to have been executed during 
the reign of Septimus Severus. 

DARDANA'RIUS. A regrater 
or monopolist, who buys and stores 
up any kind of raw or manufactured 
produce, with the object of raising the 
market price by creating a scarcity. 
Ulp. Dig, 47. 11. 6. Paul. Dig. 48. 
19- 37- 

DARI'US or DARI'CUS {Sapn- 
koq), A gold coin of Persian cur- 
rency. (Auson. -rfWnv 

which bore the 

impress of a man 11 i^w^^f^w }\ 

kneeling, with a 

bow and arrows. ^^s^ro^P^ 

It contained about 

1237 grains of pure gold, and conse- 
quently was equal in value to 
ll. is. lod. of our money. (Hussey, 
Ancient Weights, &c. vii. 3.) The 
example is from a specimen in the 
British Museum, and of the actual 
size ; but the reverse is quite unin- 
telligible. The silver coins which 
bear the same figure of a kneeling 
archer, and go by the same name in 
modern numismatics, were not, how- 
ever, so called in ancient times. 

DATA'TIM LUDERE. A phrase 
expressive of the simplest kind of 
game at ball ; in which the players, 
standing at respective distances, 
severally throw the ball from one to 
another. Plaut. Cure. ii. 3. 15. 

DA'TOR. In the game of bail ; 
the person, or the slave, who supplied 
the balls, picked up those which fell 



DECEMJUGIS. 233 

to the ground, and brought them to 
the players. Plaut. Cure. ii. 3. 18. 
Compare Pet. Sat. 27. 2. 

DEALBA'TUS (iconardc). Co- 
vered with a coating of white ce- 
ment, or stucco {opus albarium), 
which the ancients employed exten- 
sively both in the interior and exterior 
of their buildings, as an ornamental 




facing to conceal the rough stone 
or brickwork. (Cic. Verr. ii. I. 55- 
Id. Fam. vii. 29.) The illustration 
repi-esents a portion of one of the 
city gates at Pompeii, partially covered 
with cement, and showing the brick- 
work underneath the parts which have 
broken away. The whole city was 
coated with cement of rustic work in 
this manner, and frequently tinted in 
brilliant colours, such as red, blue, and 
yellow. 

DEASCIA'TUS. Chopped out or 
off with an adze (aseia). Pru- 
dent. Tltpi oTe<p. 10, 381. Inscript. 
ap. Murat. 1203. 9. AsciA, Ascio. 

DECA'NUS. A subordinate offi- 
cer in the Roman army, who had the 
command over ten orderlies quar- 
tered with him in the same tent {con- 
tubemium) ; whence he is also called 
caput contubernii. Veg. Mil. ii. 8. 
and 13. 

DECAS'TYLOS (3sKa<rrv\o { ) 
Having a porch supported upon ten 
columns in a row. Vitruv. iii. I. 

DECEM'JUGIS, sc. currus. A 
chariot drawn by ten horses, all of 
which were yoked abreast of one 
another, and not attached as leaders 
and wheelers, according to our prac- 
tice. Nero is said to have driven a 



234 DECEMPEDA. 



D ECU RIO, 



ten-horsed car at the Olympic games 
(Suet. Nero, 24.), _ 
and Trajan had 
the same number 

of horses attached ^^(S^A^U^^^, 
to his triumphal i^'l^'fj^^, 
car, which is re^ (W(^^M^CV^B^\ 
presented by the $M{j_Ci l^W.H _, 
illustration, from 
a medal of that emperor. 

DECEM'PEDA. A ten-foot rod 
employed by architects and surveyors 
for taking measurements. Cic. Mil. 
27. Hor. Od. ii. 15. 14. 

DECEMPEDA'TOR. A sur- 
veyor, or land measurer, who takes 
his "' measurements with the decem- 
peda. Cic. Phil. xiii. 18. 

DECEMRE'MIS (d«^e). A 
vessel with ten banks of oars (or- 
dines) on a side. (Plin. H. N. vii. 
57.) The manner of arranging the 
oars, or of counting the banks, in 
vessels of so large a size, is still I 
involved in much doubt and obscurity. 
But see the article Hexiremis ; in 
which a possible method is suggested ; I 
and if that be admitted, it will only 
be requisite to add four oar-ports to 
each tier between stem and stern, to 
constitute a decemremis. 

DECEM'VIRI. The members of 
a commission composed of ten per- 
sons, and appointed for particular 
purposes, as follows : — ■ 

1. Legibus scribendis. Ten com- 
missioners appointed soon after the 
expulsion of the kings, in place of 
the consuls, to prepare a code of laws 
for the state. Liv. iii. 32. seqq. 

2. Sacrorum, or sacris faciundis. 
A body of commissioners, originally 
ten in number, but subsequently in- 
creased by Sulla to fifteen, who were 
appointed for life to take charge of the 
Sibylline books, and inspect them when 
required. Liv. x. 8. Id. xxv. 12. 

3. Litibus judicandis. Ten com- 
missioners, five of whom were sena- 
tors, and five equestrians, who acted 
as judges in private disputes instead 
of the prator urbanus, when his 
military duties compelled him to 



quit the citv. Cic. Or. 46. Suet. 
Aug. 36. 

4. Agris dividendis. Ten com- 
missioners appointed to direct the 
division and allotment of lands 
amongst the people. Cic. Agrar. 2. 
passim. Liv. xxxi. 4. 

DECE'RIS (SfKTjo^c). Same as 
Decemremis (Suet. Col. 37.) ; but 
the reading is not certain. 

DECIMA'NUS or DECUMA'- 
NUS. A contractor who leased 
from the government the right of 
farming and collecting the public 
tithes ; a sort of land tax, consisting 
of a tenth part of the produce levied 
upon the subjects of all countries 
which had become the property of 
the state, either by voluntary sur- 
render, or by conquest. Ascon. in 
Verr. i. 2. 5. Cic. ib. ii. 3. 8. and 33. 

2. Ager decumanus. Land subject 
to the tithe of land tax, as just de- 
scribed. Cic. Verr. ii. 3. 6. 

3. Frumentum decumanum. The 
tithe of corn ; viz. one tenth of the 
produce, paid as the above tax. Cic. 
Verr. ii. 3. 5. and 81. 

4. Miles decumanus. A soldier of 
the tenth legion. Hirt. B. Afr. 16. 
Tac. Hist. v. 20. 

5. Porta Decuniana. The princi- 
pal gate of entrance to a Roman 
camp, which was the farthest removed 
from the enemy's front ; marked A 
on the plan s. CASTRA. Veget. Mil. 
\. 23. 

DECU'RIO. A commander of 
ten men in a cavalry regiment, three 
of whom were appointed to each 
turma, or troop of thirty men ; but 
the one who was first appointed out 
of the three held the rank of senior 
captain, and had the command over 
the whole troop. Festus, s. v. Var- 
ro. L. L. v. 91. Veget.Mil. ii. 14. 

2. A senator in any of the muni- 
cipal towns or colonies, who held a 
corresponding rank, and discharged 
similar functions in his own town to 
what the senators did at Rome. 
Cic. Sext. 4. Manut. ad Cic. Fam. 
vi. 18. 



DECURSIO. 



DELPHIiV. 



3. Under the empire, an officer 
attached to the imperial palace, some- 
what in the nature of a high chamber- 
lain, was styled Decurio cubiculario- 
ram. Suet. Dom. 17. 

DECUR'SIO and DECURSUS. 
A military review ; at which the 
soldiers were put through all the 
manoeuvres of a sham fight, for pur- 
poses of discipline and regimental 
exercise (Suet. Nero, 7. Liv. xxiii. 
35. Id. xxvi. 51. LI. xl. 6. Tac. 
Ann. ii. 55.), or as a pageant dis- 
played at the funeral of a deceased 
general, when a body of troops per- 
formed their evolutions round the 
burning pile. (Virg. sEn. xi. 188. 
Tac. Ann. ii. 55.) The illustration 




is copied from the reverse of a medal 
of Nero, which has the inscription 
Decursio underneath. Of course it 
is not to be taken as a perfect repre- 
sentation of such scenes, but only as 
a conventional mode of expressing the 
subject in a small compass. One of 
the slabs which formerly covered the 
base of the Antonine Column affords 
a more complete representation of 
the pageant ; but the numerous bo- 
dies of infantry and cavalry there 
introduced could not be compressed 
within the limits of a drawing suit- 
able to these pages. 

DECUSSIS. A piece of money 
of the value of ten asses, which was 
marked with the letter x. Varro, 
L. L.n. 170. Stat. Sylv. iv. 9. 9. 

DEDOLA'TUS. See Dola'tus. 

DE'FRUTUM (Sifa/za, aipaiov). 
New wine boiled down to one half its 
original quantity (Plin. H. N. xiv. 




The example is 
original of white 



1 1 .), in order to increase its strength; 
and employed by the ancient wine- 
growers, as the u doctor " is by the 
moderns, in giving body to poor wine. 
Columell. xii. 37. 

DELATOR {nwTfc). A public 
spy, or common informer, who lived 
by denouncing and getting up 
charges against his fellow-citizens. 
Tac. Ann. iv. 30. Suet. Nero, 10. 

DEL'PHICA, sc. mensa. A table 
made of marble or bronze, in imi- 
tation of a tripod, 
which was em- 
ployed as a drink- 
ing table, and 
valued as a piece 
of ornamental 
furniture in the 
houses of wealthy 
individuals. (Cic. 
Verr. ii. 4. 59. 
Mart. Ep. xii. 66. 
copied from an 
marble. 

DELTHIN and DELPHLNUS. 
A dolphin. Delphinorum columnar 
(Juv. vh 589.), the columns of the 
dolphins. These were columns 
erected on the spina of the Circus, to 
support a number of marble dolphins 
in an elevated po- 
sition, so as to be 
readily seen by the 
concourse of spec- 
tators ; their ob- 
ject being to give 
notice of the num- 
ber of turns round 
the goals which 
had been run in 
each race. Seven 

courses round the ■ 

spina constituted a single race ; and, 
consequently, one of these dolphins 
was put up at one end of the course 
upon the completion of each circuit, 
and an egg {ova curricnlorum) at the 
other, in order that there might be 
no mistake or dispute. The figure 
of a dolphin was selected in honour 
of Neptune, the egg, of Castor and 
Pollux. The illustration is taken 




236 



DEL UBR UM. 



DENS. 



from a sepulchral bas-relief, repre- 
senting a race-course. 

DELU'BRUM. That part of a 
temple {templum) in which the altar 
or statue of the deity was erected ; 
and hence any temple which contains 
an altar or an image of a god. Cic. 
N. D. lii. 40. Id. Arch. 11. Virg. 
sEn. iv. 56. 

DEMAR'CHUS ($miap X o<;). An 
officer amongst the Greeks (Plaut. 
Cure. ii. 3. 7.), resembling in many 
respects the Tribune of the people 
amongst the Romans, particularly in 
the power he possessed of convening 
meetings of the demits (Sfifiot;), and 
of taking the votes on all questions 
submitted to the assembly ; whence 
the word is employed by the Greeks 
as a translation for the Latin tribunus 
plebis. Plut. Cor. 7. 

DENARIUS. The principal sil- 
ver coin of the Romans, which ori- 
ginally contained ten asses, subse- 
quently increased to sixteen, when 
the weight of the as had been re- 




duced ; worth about S^d. of our 
money. It bore various devices : 
the head of Jupiter, of the twin 
brothers Castor and Pollux, of the 
goddess Roma, with a helmet, and a 
two or four horse chariot on the re- 
verse, similar to the example annexed, 
from an original of the actual size. 
2. Denarius aureus. A gold coin 

Ma**. x^pBS 




xxxiii. 13.) This piece was not of 
very common use ; but a specimen 
struck under Augustus is here intro- 
duced in its actual state. 

DENS (ocotjc). A tooth; whence 
specially applied to various other 
objects, which resemble teeth, either 
in their form, or mode of application ; 
viz. : 

1. The fluke of an anchor (Virg. 
ALn. vi. 3.), which is generally re- 
presented in the works ^ 
of ancient art as a plain 
hook without barbs (see 
the illustration s. A\- 
CORA) ; but flukes con- 
structed with barbed 
teeth, such as ordinarily j)s*4m 
used at the present day, 

were also adopted by the ancients, as 
is proved by the annexed example, 
from the device on a Roman Imperial 
coin. 

2. The barb of a hunting spear. 
(Grat. Cyneg. 108.), like the spear- 
head shown in the an- 
nexed engraving from 
one of the bas-reliefs re- 
presenting Trajan's hunt- 
ing feats, now affixed to 
the arch of Constantine ; 
for the war spears, both 
of the Greeks and Romans, had 
usually a lozenge or leaf shaped head 
(see Cuspis), without barbs. 

3. The tooth or prong of the agri- 
cultural implement termed ligo ; 
which was a sort of hoe with 



of the same name, equal to twenty- 
five silver denarii. (Plin, H. IV. 



a curved blade notched in the 
centre, so as to form a prong on 
each side ; whence fracti dente 
ligonis. (Columell. x. 88.) The 
example is from an engraved gem. 

4. The plough-share ; when formed 
in the simplest or primitive manner 
out of the branch of a tree, either 
naturally or artificially bent into a 
hook, as in the annexed example, 



DENS. 



DENT A RPA GA . 237 



from an Etruscan bronze discovered 
at Arezzo. A share of this descrip- 




tion would rather tear up, or bite the 
ground, as Varro phrases it {L. L. v. 
135., dens, quod eo mordetur terra), 
than cut through it, like the regular 
share {vomer), from which it is fur- 
ther distinguished by the epithet 
uncus (Virg. Georg. ii. 406.) ; the 
force and meaning of which are 
characteristically exemplified by the 
engraving. 

5. The tooth of a rake, harrow, or 
other similar agricultural implements, 




such as the ifpex, occcZ, rastrum, &c. ; 
like the example, found in the Roman 
catacombs. Lucan. vii. 859. Varro, 
L. L. v. 136. Festus, s. Irpices. 

6. The tooth of a saw. (Plin. 
H. N. xv i. 83. Ovid. Met. viii. 246. 



pcrpetuos dentes.) The illustration 
represents a small hand-saw used by 
Daedalus, in a marble bas-relief. 

7. The tooth of a comb. (Tibull. 
i. 9. 68. Claud. Nupt. Honor, et Mar. 



lijiiiiijiiiljilllilllll 

102.) A small-toothed comb, like the 
one exhibited in the engraving, from 
an original of box- wood found in a 



Roman tomb, was termed dens densus. 
Tibull. /. c. 

8. The tooth of the three-pronged 
key supposed to be the clavis Laco- 



nica (Tibull. i. 2. 18.), of which a 
specimen is annexed, from an Egyp- 
tian original. 

9. The hook of a clasp (Sidon. 
Carm. ii. 397.) ; see Fibula, 2. 

10. The cogs of a wheel in ma- 
chinery [tympanum dentatum). Vi- 
truv. x. 5. 

11. Dens curvus Saturni. Poeti- 
cally, for a pruning-hook. (Virg. 
Georg. ii. 406.) See Falx. 

DENTA'LE (sXvfua). The share- 
beam of a plough, to which the share 
{vomer) was attached. (Columell. ii. 
2. 24.) In the annexed example, 




from an engraved gem, the dentate is 
shod with an iron head, marked dark 
in the engraving. Compare Ara- 
trum, 2., which shows a plough of 
more perfect construction, on which 
the aentale is distinguished by the 
letter B. 

2. Dentate duplici dorso. (Virg. 
Georg. 1. 172.) A share-beam with 
a double back ; i. e. , which opens be- 
hind into two parts, but meets at a 
point in front, where the share is 
fixed ; in the manner exemplified 




>y the annexed engraving, which re- 
presents a plough still in common 
use amongst the agricultural popula- 
tion on the bay of Taranto. 

DENTAR'PAGA {dSovrdypa). A 



2 3 8 



DENTA 1US. 



DESIGN A TOR. 



dentist's instrument for drawing 
teeth. It was a species of forceps, 
which Varro designates by the epithet 
bipensilis ; but the precise form of the 
instrument has not been identified. 
Varro, ap. Non. s. v. p. 99. 

DENTATUS. See Tympanum, 
Pedica, Charta. 

DENTTCULATUS. Furnished 
with small teeth or prongs ; as ap- 
plied to artificial and natural objects, 
in the ways explained and illustrated 
under the article Dens. 

2. Falx denticulata. (Columell. ii. 
21. 3.) See Falx. 3. 

DENTIC'ULUS. A dentil in archi- 
tecture. (Vitruv. iv. 2. 5. Id. iii. 5. 1 1.) 
The dentils are a number of small 
square blocks, with interstices between 
them, employed in the entablature of 
columnar architecture. They belong 
properly to the Ionic and Corinthian 
orders ; and their proper situation is 
under the bed moulding of the cor- 
nice, as in the example annexed, 




from the temple of Bacchus at Teos ; 
for they are intended to represent 
externally the heads of the com- 
mon rafters {asseres) in the timber- 
work of a roof. In some Roman, 
and many modern buildings, they 
are placed under modillions {mu- 
tuli) ; but this was contrary to the 
practice of the Greeks, for it de- 
stroys their meaning and intention ; 
and, for a similar reason, the Greek 
architects never placed them on the 
sloping sides of a pediment, as the 
Romans did, because the ends of the 



rafters do not project in the front of 
a building, but only at the sides. 
The Romans, moreover, introduced 
them into their Doric order (Vitruv. 
i. 2. 6.), an instance of which appli- 
cation may be seen in the illustration 
s. Triglyphus, representing an en- 
tablature belonging to the theatre of 
Marcellus at Rome. 

DENTIDU'CUM. A dentist's 
instrument for extracting teeth. Cael. 
Aur. Tard. ii. 4. 

DENTIFIUCTUM^orrocr/^y/m, 
oSoi'Torpinna). Tooth-powder, for 
cleansing and whitening the teeth. 
Plin. //. N. xxix. 1 1. Id. xxxii. 21. 
Id. xxviii. 49. 

DENTISCALP'IUM {oSovrSyXv- 
<pic). A tootJi-pick. The choicest 
kinds were made out of the stalks to 
the leaves of the mastick tree (len- 
tiscus) ; the inferior qualities from 
quills. Mart. xiv. 22. Id. iii. 82. 
Id. vi. 74. Id. vii. 53. 

DEPONTA'NI. Roman citizens 
who had passed the age of sixty, and 
thence become incapacitated from 
voting at elections and in the public 
assemblies ; so termed, because in 
reality they were excluded from the 
bridge {pons suffragiornm), which the 
voter passed over as he entered the 
enclosure {septum) to cast his ballot 
into the box. Festus, s. v. 

DERUNCINA'TUS. Smoothed 
with the runcina ; i. e. , planed. 

DESCOBINA'TUS. Scraped 
with the scobina. 

DESIGNATOR. A person em- 
ployed at the theatre in a capacity 
something like that of our box or 
stallkeeper, whose business it was to 
point out, and conduct the company 
to their proper places. (Plaut. Pcen. 
Prol. 19.) Every seat was numbered, 
the space allotted to each being- 
marked out by a line {lined) drawn 
on each side of it, and the billet of 
admission {tessera t/ieatralis) specified 
the number of the seat which the 
holder was entitled to occupy, which 
was shown to him by the designator 
when he entered the theatre. 



DESULTOR. 



D EXTRA LE. 



2 39 



2. An undertaker; who made all 
the arrangements for a funeral, and 
directed the procession, at the head 
of which he walked, attended by 
lictors clothed in black. Hor. Bp. i. 
7. 6. Donat. ad Terent. Adelph. i. 2. 
7. Seneca, Benef. vi. 38. 

3. A sort of clerk of the course at 
the Circensian games ; who made 
the arrangements for each race, and 
distributed the prizes. Ulp. Dig. 3. 
2. 4. — Cic. Att. iv. 3. 2. probably 
applies to this class. 

DESULTOR {fierafiarric, afjupiir- 
ttov). A person who exhibited feats 




of horsemanship in the Circus upon 
horses trained for the purpose, like 
our performers at Astley's, and the 
figure in the preceding engraving, 
which is copied from a bas-relief in 
the museum at Verona. He some- 
times had as many as four horses 
under his command (Agostini, 




Gemnic, 193.); but the more usual 
number was two (Liv. xxiii. 29.), 
which he rode without reins or 
saddle, as shown by the annexed 
example, from a terra-cotta lamp, 



and received the name 01 desullo? 
from the practice of leaping from 
one to the other, while the animals 
were at their full speed. (Isidor. 
Orig. xviii. 39. Compare Prop. iv. 
2. 35.) He wore the cap termed 
pileus on his head (Hygin. Fab. 8j.), 
which is observable in both the illus- 
trations ; and frequently rode in the 
Circus by the side of the chariots (see 
the illustration s. Spina) ; but some- 
times a performance of desultores was 
exhibited alone. Liv. xliv. 9. 

DESULTO'RIUS, sc. equus. A 
horse trained for the performances of 
the desultor (Suet. Ca-s. 39.), as shown 
in the two preceding illustrations. 

2. Same as Desultor. Cic. Mm; 
27- 

DEUNX. Eleven uncice, or eleven- 
twelfths of anything ; as the eleventh 
part of anas, a nominal sum, not repre- 
sented in actual coinage. Varro, L. L. 
v. 172. Rhemn. Fan. dc Pond. 45. 

DEVERSO'RIUM. A general 
name for any place at which a tra- 
veller "puts up," or is accommodated 
with temporary board and lodging, 
whether a public inn [taberna meri- 
toria) or a private house be used for 
the purpose. Cic. Phil. ii. 41. Pet. 
Sat. .15. 8. Cic. Fdm. vii. 23. 

DEX'TANS. Ten under, or ten- 
twelfths of anything ; as the tenth 
part of an as, a nominal sum, not 
represented in actual coinage. Varro, 
L. L. v. 172. Suet. Nero, 32. 

DEXTRA'LE. A bracelet worn 




on the fleshy part of the right arm, 



240 



D EX TR O CHER I U M. 



DIA MIC TON. 



as in the example, from a painting at 
Pompeii. Cyprian, de Habitu Virgin. 

DEXTROCHE'RIUM. A brace- 
let worn round the wrist of the right 




arm, as in the annexed example, sup- 
posed to represent the portrait of a 
Pompeian lady, from a painting in 
that city. Capitolin. Maxim. 6. Id. 
Maxim. J nn. I. 

DIABATHRA'RIUS One who 
makes diabathra. Plaut. Aid. iii. 5. 39. 

DIABATH'RUM {Si6fia0pov). A 
particular kind of slipper or sandal 
{soled) of Greek original (Festus, 
s. v.) ; respecting which nothing fur- 
ther is known, than that it was es- 
pecially characteristic of the female 
sex (Eustath. ad Horn. Od. v. 9.); 
whence, if attributed to males, as by 
Nsevius {ap. Varro, L. L. vii. 53. ), it 
is only in ridicule, and pointedly 
meant to designate an effeminate 
style of dress. From this it may be 
inferred that Pollux is mistaken when 
he makes it common to both sexes. 
O noma st. vii. 90. 

DIACH'YTON. A particular 
kind of wine produced by drying the 
grapes in the sun for several days 
before they were squeezed. Plin. 
H. N. xiv. 1 1 . 

DIADE'MA {8iadi]fia). A dia- 
dem ; which, in its 
original notion, 
means the blue 
and white band 
worn by the Asi- 
atic monarchs 
round the tiara 
(Xen. Cyr. viii. 
3. 13.), as shown 
by the illustration 
s. Ci PARIS ; but 




subsequently the diadem was a broad 
white band (Val. Max. vi. 2. 7.), fast- 
ened round the head, and tied in a 
bow behind, adopted by other nations, 
as an ensign of sovereignty (Juv. xiii. 
105 ), like the annexed example, from 
an engraved gem, representing Pto- 
lemy, the brother of Cleopatra. Thus 
in works of art, the diadem indicates 
a regal station, like the crown of 
modern times. 

DIADEMA'TUS. Wearing the 
diadem, as shown in the preceding 
illustration. Plin. H. N. xxxiv. 19. 
§ 17. 

DliE'TA (Siaira). The name 
given to some particular department 
in ancient houses, the precise nature 
of which is not distinctly known. 
Thus much, however, is certain, that 
it consisted of several rooms adjoin- 
ing one another, and contained within 
the suite both eating and sleeping 
rooms. Plin. Epist. ii. 17. 12. and 
20. vi. 21. Ib. vii. 5. I. 

2. {(ricrjvii). A cabin or tent 
erected on the deck at the stern of a 
vessel, as in the annexed example, 




from the Vatican Virgil. It was ap- 
propriated to the use of the chief 
person in command ; or to the ma- 
gister, in a merchantman. Pet. Sat. 
115. I. 

DIAMIC'TON. A term employed 
by the Roman builders to designate 
a particular manner of constructing 
walls, similar in most respects to the 
Emplecton, but of an inferior descrip- 
tion ; for though the outside surfaces 
were formed of regular masonry or 



DIAPASMA. 



DICHALCOK. 



241 



brickwork, and the centre filled in 
with rubble, they had no girders 




{diatoni) to consolidate the mass, and 
bind it together. (Plin. H. N. xxxvi. 
51.) The illustration shows a wall 
constructed in diamicton, from a ruin 
at Rome. 

DIAPAS'MA (didiraafia). A fine 
powder, made from dried flowers, 
odoriferous herbs, or berries, intended 
to be rubbed over the body as a per- 
fume. Plin. H. N. xiii. 3. Id. xxi. 
73. Mart. Ep. i. 88. 

DIA'RIUM. A day's allowance 
of provisions, which was weighed 
out to slaves (Hor. Ep. i. 14. 40. 
Pet. Sat. 75. 4.) ; and thence also a 
soldier's daily allowance or pay. 
Cic. Att. viii. 14. 

DIAST'YLOS (Sidffri/Xot). Hav- 
ing the space of three diameters be- 
tween column and column, which 
constitutes the widest intercolum- 
niation capable of bearing an archi- 
trave of stone or 
marble ; for the Tus- 
can style, which ad- 
mitted four diame- 
ters, required its 
architrave to be of 
wood. (Vitruv. iii. 
2. ) The annexed diagram shows the 
relative width of the five different 
kinds of intercolumniation in which 
the diastyle is the last but one. 

DIAT'ONI (Std-oi'oi). Girders, 



m--4--m 





or bandstones, employed in the con- 
struction of walls, which are built in 
the style termed Emplecton. They 
are large stones of the same length 
as the entire thickness of the wall, 
like those marked F in the annexed 
example, and consequently extended 
from one face of it to the other, 
being laid in courses at regular in- 
tervals, for the purpose of consoli- 
dating the structure, and binding the 
whole together. Vitruv. ii. 8. 7. 

DIATRE'TA (dtarpriTa). Vases or 
drinking cups of cut glass, or precious 
stones, ground by 
the wheel in such 
a manner that 
the patterns upon 
them not only 
stood out in re- 
lief, but were 
bored completely 
through, so as to 
form a piece ol open tracery, like 
network (Mart. Ep. xii. 70. Ulp. 
Dig. 9. 2. 27.), precisely as exem- 
plified by the annexed figure, copied 
from an original glass drinking-cup 
found at Novara in the year 1725. 
The letters on the top which form 
the inscription Bibe, Vivas MuLTOS 
Annos, and the whole of the tracery 
below, are cut out of the solid, and 
form part of the same substance as 
the inner cup, though completely au 
jour, small ties or pins being left at 
proper intervals, which unite the 
letters and the tracery to the inner 
body of the cup. 

DIAT'RIBA. A place in which 
learned disputations are carried on, 
such as a school or lecture room. 
Aul. Gell. xvii. 20. 2. Id. xviii. 13. 2. 

DIAZO'MA (Stafapa). Properly, 
a Greek word Latinised (Vitruv. v. 
6, 7.), for which the genuine Latin 
term is Pr^cinctio ; under which it 
is explained. 

DICHAL'CON {8l X a\Kov). A 
small copper coin of Greek currency, 
equal in value to the fourth or fifth 
of an obolus. Vitruv. iii. I. Plin. 
H. N. xxi. 109. 



242 



DICROTUS. 



DIPLOIS. 



DICROTUS (SkpoToc). Having 
two banks of oars on a side ; pro- 
perly, a Greek word, for which the 
Romans used Biremis ; which see. 

DIDRACH'MA and DIDRACH'- 
M U M {diSpaxfior). A double 
drachm, of the Greek silver coinage. 
(Tertull. Pnvscr. II.) Like the 
drachma, it was of two different 
standards : the Attic, of which spe- 
cimens are very rare, worth about 
is. J^d. of our money ; and the ^Egi- 
netan, worth about is. 3^d., the 
largest coin of that standard, and by 
no means uncommon : one of which 





is here represented of the actual size, 
from an original in the British 
Museum. 

DIGITA'LE {SaKrv\n9pa). A 
covering to the hand with fingers to 
it, like our glove. (Varro, A'. R. i. 
55. I. Xen. Cyr. viii. 8. 
17.) The example here 
introduced is copied from 
Trajan's Column, where it 
appears on the hands of a 
Sarmatian; but the passage 
of Varro is considered doubtful, and 
some editions read digitabulum, which 
is interpreted to be an instrument 
with prongs, like the human hand, 
affixed to a long handle, and employed 
in gathering fruit. 

D I L O'R I S. A hybrid word, 
meaning literally fiimished with two 
thongs : but intended to designate the 
two stripes of purple, or purple and 
gold, termed paragandiv, which, in 
late times, were employed to orna- 
ment wearing apparel, in a similar 
manner to the davits, as explained 
and illustrated under the word Pa- 
ragauda. Vopisc. Anrel. 46. 

DI'MACH/E (oi/mx".i). A class 



of troops amongst the Macedonians, 
who acted both as horse and foot 
soldiers, being trained to dismount 
and serve amongst the infantry as 
occasion required. Curt. v. 13. 

DIMACJLF'RI {Zipa X atp<»). A 
class of gladiators, w ho are supposed 
to have fought with two swords each ; 
but the fact is only an inference, 
collected from their name. Inscript. 
ap. Mur. 613. 3. Orelli, Inscript. 
2584. 

DIOGMIT^E. A body of light- 
armed troops employed under the 
empire, and stationed upon the con- 
fines to prevent incursions, pursue 
robbers, &c. Ammian. xxvii. 9. 6. 
Capitolin. Anton. Philosoph. 21. 

DIOFTRA {dioirrpa). A geome- 
trical instrument employed in mea- 
suring the altitude of distant objects ; 
for taking the levels of a source of 
water intended to be conveyed to a 
distance by means of an aqueduct, 
and similar purposes. Vitruv. viii. 

5- 1. 

DIO'TA {8iwTT)\ A Greek word, 
meaning literally with two ears; and 
thence employed both in the Greek 
and Latin languages, as a general 
term for any vessel which is fur- 
nished with two 
handles, like the 
amphora, lagena, 
&c. ; especially 
such as were in- 
tended for the pre- 
servation of wine 
in store (Hor. Od. 
i. 9. 8.), to which 
purpose the original depicted in the 
annexed engraving was applied ; for 
it is carried by a Faun, attending 
upon Bacchus, on a fictile vase of the 
Neapolitan Museum. 

DIPLINTH'IUS. Two bricks 
thick. Vitruv. ii. 8. 

DIPLOIS (^ttXoic, SiirXaZ). A 
doubled cloak ; i. e., a pallinm, or 
other article of the outward apparel 
(amictns), which, when put on, was 
partly doubled back in the same man- 
ner as women do their shawls, in 




DIPLOMA. 



DIRIB1T0RIUM. 



243 




consequence of being too large to be 
conveniently worn 
single. It belonged 
to the Grecian 
costume (Isidoi 
Orig. xix. 24. II.), 
was affected by 
the Cynic philoso- 
phers (Hor. Ep. 
i. 17. 25. Acron. 
ad IS), and is very 
clearly represented 
in the annexed fi- 
gure of Juno, from 
a fictile vase, as 
well as on a statue 
of Minerva in the 
Vatican. Mus. Pio-Clem. iii. 37. 

DIPLO'MA {din-Xwfjia). A sort 
of passport, consisting of two leaves 
(whence the name originated), which 
was given to a messenger or other 
person travelling upon public busi- 
ness, in order that he might readily 
obtain every thing necessary on 
his journey, without delay or hin- 
drance. Cic. Fam. vi. 12. Plin. Ep. 
x. 31. Capitolin. Pertin. I. 

2. A diploma, or document drawn, 
up by a chief magistrate, which con- 
ferred some particular privilege upon 
the person to whom it was given. 
Suet. ATero, 12. 

DIPLOMA'RIUS. A public cou- 
rier or state messenger ; i. e., who was 
furnished with a public passport {di- 
ploma). Inscript. ap. .Orelli, 2917. 

DIP'TEROS [SiiTTepoc). Lite- 
rally with two wings ; whence em- 



ployed by architects to designate a 
temple or other edifice which has a 
double row of columns all round. 
Vitrav. iii. 2. 

DIP'TYCHA (oiirrvxa). Folding 
tablets, consisting of two leaves con- 
nected by a string or by hinges, 



JL. 



which shut up like the covers of a 
book, or of a modern 
backgammon board 
(Schol. Vet. ad Juv. ix. 
36.) The outside pre- 
sented a plain surface of 
wood ; the inside had a 
raised margin all round, 
within which a coat of 
wax was spread for 1 
writing on with a steel point {stilus), 
while the margin preserved the wax 
and letters from abrasion by coming 
into contact. The example is from a 
painting of Herculaneum. 

2. Diptycha consularia prcetoria, 
cedilitia. Tablets of similar form, 
but containing the names and por- 
traits of consuls, praetors, aediles, and 
other magistrates, which they pre- 
sented to their friends, and distributed 
amongst the people on the day of 
entering upon their respective offices. 
(Symmach. Ep. ii. So. Id. v. 54. 



Cod. Tbeodos. 15. 9. 



Many dip- 



tychs of this description in wood and 
ivory are preserved in the cabinets of 
antiquities, and have been engraved 
by Maffei, Mus Veronens.. and Do- 
nati, Ditiici Antichi, but the details 
are too minute and elaborate for 
insertion in these columns. 

DIRIBITO'RES. Officers who 
had charge of the balloting boxes at 
the Roman Comitia. It was their 
duty to sort the votes of the different 
tribes at the conclusion of the ballot, 
and then hand them over to the scru- 
tineers (custodes), who pricked off the 
respective numbers, and declared the 
result. Cic. in Senat. 1 1. Id. Pis. 15. 

DIRIBITO'RIUM. A room or 
building, supposed to have been ori- 
ginally constructed for the diribitores 
to sort the votes at the Comitia ; but 
subsequently the same place, or a 
similar one, was set apart for the use 
of the officers engaged in examining 
the muster roll of the army, distri- 
buting the pay, and assigning the 
conscripts to their different legions. 
Suet. Claud. 18. Plin. H. N. xvi. 
76. § 2. 



*44 



DISCIXCTUS. 



DISCO BO L US. 



DISCINCTUS (dZuHTTod). Un- 
girt ; that is, wearing the tunic 
without its belt round 



the waist, as shown by 
the figure annexed, 
from a painting at 
Pompeii ; and. as this 
was an unusual prac- 
tice amongst the an- 
cients, except when 
a person wished to be 
at ease in his own 
house (Hor. Sat. ii. 
I. 73.), it implies a 
sense of hurry and 




constrained dishabille (Id. Sat. i. 2. 
132.), or of natural slovenliness, 
which was considered to be indicative 
of loose morals. Pedo Albin. El. ii. 
21-25. °^ Maecenas, who was addicted 
to this habit. 

2. With respect to females, the 
meaning is the same, and the appear- 
ance presented by a woman's tunic 
without its belt (recincla, soluta) is 
shown by the following figure, from 
an engraved gem ; but the sense of 
indelicacy is still more decided as 




regards the sex, amongst whom, both 
in Greece and Italy, such a freedom 
ot costume was chiefly affected by 
women of easy character, such as 
singing and dancing girls, who are 
mostly so depicted in the Pompeian 
paintings. 

3. Discinctus miles. With respect 
to the military, the word implies 
without the sword belt {balteus, cinc- 
torhim), which the Roman com- 
manders sometimes took from their 
men who had disgraced themselves, 



as the colours are now taken for a 
similar purpose from a modem regi- 
ment ; and this was not only a mark 
of ignominy, but a real hardship to 
the soldier, who was thus compelled 
to carry his naked sword without the 
assistance of a belt and the sheath 
attached to it. Li v. xxvii. 13. 

DISCERNIC'ULUM. A bodkin 
employed by women to part the hair 
evenly down the front of the head, 
Lucil. ap. Non. s. v, p. 35. Varro, 
L. L. v. 129. 

DISCOB'OLUS (aifficojSoXoc). One 
who throws the discus ; the manner 
of doing which is shown by the sub- 
joined engraving, from the celebrated 
statue of Myron (Quint, ii. 13. 10. 
Plin. H. N. xxxiv. 19. § 3.), a copy 
of which is preserved in the British 
Museum. The very remarkable at- 
titude and position of this figure are 
characterised by Quintilian as ' ' la- 
boured and distorted " — distortum et 
elaboratum — but these words ai-e to be 
understood with reference to the usual 
practice of the Greek artists, who were 
extremely chary of representing their 




figures in violent action, such as oc- 
curs in ordinary nature, and not as in- 
tended to imply that the figure in 
question does not truly express the 
real posture which every player with 
the discus actually assumed at the mo- 
ment of discharging his disk ; for a 
passage of Statius {Theb. vi. 646- 
721.), descriptive of a contest be- 



DISCUBITUS. 



DODRANS. 



245 



tween two discoboli, enumerates one 
by one all the particular motions and 
poses observable in this statue. The 
player first examines his discus to 
find which part of the edge will best 
suit the gripe of his fingers, and 
which will lay best against the side of 
his arm, — quod latus in digitos, media 
quod certius uhue, Conveniat; he then 
raises up his right arm with its 
weight, — Erigit adsuetum dextr<z 
gestameu et alte Suslentat ; bends both 
his knees downwards, and swings the 
disk up above the general level of his 
body, — humique Pressus utroque 
genu, collecto sanguine discum, Ipse 
super sese rotat ; and then discharges 
the mass by swinging his arm down- 
wards, which acquires a double im- 
petus from the resistance in a con- 
trary direction, produced by the 
rising up of the bent body as the arm 
descends, — alienee lubricci masses Pon- 
dera vix, toto curvatus corpore, juxta 
dejicit. This passage, while it illus- 
trates the meaning and intention of 
the different attitudes exhibited by the 
above figure, also clearly explains the 
manner in which the discus was cast. 

DISCU'BITUS, DIS'CUBO. 
These words denote the taking of a 
place, and reclining at meal-time, as 
described s. Accubo ; but, strictly 
speaking, when they are used, allu- 
sion is made to the whole company, 
that is, to a number of persons who 
recline together upon different couches 
(Val. Max. ii. 1. 9. Cic. Att. v. I.), 
as seen in the illustration s. Tricli- 
nium, 1. 

DIS'CUS {Siaicoc). A circular 
plate of stone or metal, about a foot 
in diameter, employed, like our quoit, 
for throwing to a distance as an ex- 
ercise of strength and skill. (Hor. 
Od. i. 8. 11. Prop. iii. 14. 10.) The 
instrument itself, and the manner of 
projecting it, are shown and explained 
by the woodcut on the opposite page, 
and the text which accompanies it. 

2. Any shallow circular vessel for 
containing eatables ; the original of 
our word disk. Apul. Met. ii. p. 36. 



3. A flat circular sundial, placed 
horizontally upon its stand. (Vitruv. 




ix. 8.) The example is from an 
i original published by Martini, von den 
\ Sonnenuhren der Alten. 

DISPENSA'TOR. One of the 
! slave family in a Roman household, 
both in town and country, who per- 
formed the duties of a secretary and 
accountant in the former, and of a 
bailiff or steward in the latter estab- 
lishment. Cic. Att. xi. 1. Suet. 
Galb. 12. Macrob. Sat. ii. 4. Pom- 
pon Dig. 50. 16. 166. 

DISPLUVIATUS. See Atri- 
um, 4. 

DIVERSO'RIUM. See Deverso- 

RIUM. 

DIVIDIC'ULUM. A tower in 
an aqueduct, containing a large re- 
servoir, from which the water was 
distributed through separate pipes into 
the city. It was an old name, subse- 
quently relinquished for the more 
imposing one of Castellum. Festus, 
s. v. and Castellum, 4., where an 
illustration is given. 

DO'DRA. A potage, or drink 
composed of nine different ingredi- 
ents — water, wine, broth, oil, salt, 
bread, herbs, honey, and pepper. 
Auson. Epigr. 86. and 87. 

DO'DRANS. Nine-twelfths of 
anything ; thence a copper coin, con- 
sisting of nine uncice, or three-quarters 
of an as. (Varro, L. L. v. 172.) It 
is extremely rare in actual coinage ; 
though an example is said to exist in 
a coin of the Cassian family, which 
bears the letter S, and three balls, to 
represent its value. 



246 DO LA BELLA . 



DOLABRA TUS. 



DOLABEL'LA. A small dola- 
bra, or instrument constructed upon 
the same principle, which was em- 
ployed for agricultural purposes, 

especially in the vineyard, for clear- 
ing out the dead wood, and loosening 
the earth about the roots of the vines. 
(Columell. iv. 24. 4. and 5.) The 
example is taken "from a sepulchral 
marble (Mazzocchi de Ascia, p. 
179.) ; its form clearly shows that it 
belonged to the class of dolabrce, as 
will be seen by comparing it with 
the following illustrations, while the 
straight cutting blade, like a hatchet 
or chisel at the top, and the curved 
one, like a pruning-hook. below, 
make it sufficiently suitable for the 
uses assigned to it by Columella in 
the passages cited. 

DOLABRA {a£ivr}). An instru- 
ment employed for cutting, chopping, 
breaking, and digging ; by woodsmen 
(Quint. Curt. viii. 4.), agricultural 
labourers (Columell. Arb. 10. 2. Pal- 




lad, iii. 21. 2.), and very generally 
in the army, for making stockades 
(Juv. viii. 248.), or breaking through 
the walls of a fortification (Liv. xxi. 
II.), to both which purposes it is 
frequently applied by the soldiery on 
the Columns of Trajan and Anto- 
ninus. It belonged to the class of 
instruments which go by the name of 
hatchet (sccuris) amongst us ; and 
is often confounded by the writers 
of a late age with the adze {ascia), 
with both of which it presents points 
of resemblance and of discrepancy, 
having a long handle and double 
head, one side of which is furnished 
with a sharp cutting blade, the edge 
of which lies parallel to the haft, in- 
stead of across it, like the adze, and 



the other side with a crooked pick, 
something like a sickle, thence termed 
falx by Propertius (iv. 2. 59.). The 
example introduced is from a sepul- 
chral monument found at Aquileia, 
and is carried on the shoulders of a 
figure, with the inscription Dola- 
brarius Collegii Fabrum under- 
neath, which thus identifies the name 
and nature of the instrument. Com- 
pare also the woodcut s. Dolatus, 
where it is shown in use. 

2. Dolabra fossoria. The instru- 
ment employed by excavators and 
miners, which had a long handle, 
like the preceding one, and a head of 




similar character, furnished with a 
cutting edge at one side, placed pa- 
rallel to the haft, and a regular pick 
at the other, as shown by the annexed 
example, from a painting in the 
Roman catacombs, in which it appears 
in the hands of an excavator. Isador. 
Orig. xviii 9. 11., and compare the 
illustration s. Fossor. I., where it is 
seen in use. 

3. Dolabra pontificalis. The hat- 
chet employed in slaughtering cattle, 
at the sacrifice (Festus s. Scena), 
and by butchers (Paul. Dig. 33. 7. 
18.), which is furnished with two 
: blades — one broad and large, like a 
hatchet ; the other at the back, of 
smaller dimensions, and resembling 



the cutting edge of an ordinaiy dola- 
bra, as shown by the annexed exam- 
ple, from a bas-relief representing a 
sacrifice in the Villa Borghese. 

DOLABRATUS. Hewn, split, 
formed, or fashioned with a dolabra. 
Cses. B. G. vii. 73., and woodcut s. 
Dolatus. 

2. Made like a dolabra, or fur- 
nished with one ; as securis dolabrata 



DO LA TUS. 

(Pallad. i. 43.), a hatchet with a do- 
labra at the back of the blade, as 
seen in the preceding illustration. 

DOLATUS. Hewn, cut, chopped, 
and formed into shape with the do- 
Iabra, as applied to objects in wood 
(Cic. Acad. ii. 31. Plin. H. N. xvi. 
18.), and represented in the annexed 




engraving, from the column of Tra- 
jan ; and as the action employed in 
using that instrument is one of giving 
repeated blows, the word is also ap- 
plied in the sense of beaten violently. 
Hor. Sat. i. 5. 22. 

DOLI'OLUM. Diminutive of 
Dolium. Liv. v. 40. Veg. Vet. vi. 
13- 3- 

DO'LIUM(7rt'0oc). A large mouthed 
round, full-bellied earthenware vessel 
(Varro, R. R. iii. 15. 2. Columell. 
xii. 6. 1. lb. 4. 5-,) of great capacity, 

employed to contain , 

new wine in a body j|^E=^r ) 
until it was drawn /' ^ 
off into amphorcc, or, f M 
as we should say, I m 
bottled (Seneca, Ep. \ M 
36. Procul. Dig. \^__^a*r 
33. 6. 15.) ; as well ^=s§^ 
as other kinds of produce, both 
dry and liquid, as oil, vinegar, &c. 
(Varro, R. R. i. 22. 4. Cato, R. R. 
10. 4. and 11. 1.) The above words 
are used in Latin and Greek, to 
designate the receptacle which Dioge- 
nes adopted for his habitation (Juv. 
Sat. xiv. 308. Diog. Laert. in mt.) ; 
and the one into which the daughters 
of Danaus were condemned to empty 
their pitchers (Hor. Od. iii. 22-27. 
Lucian. in Timon. torn. 1. p. 89. 
Bipont.) ; by which the great size of 
the dolium is testified. Some originals 



DOM US. 247 

excavated at A ntium are three inches 
thick, and have an inscription, declar- 
ing their capacity at 18 amphorae, 
equal to 21^ of the modern Roman 
barrels. The illustration is copied 
from a bas-relief, representing the 
dolium of Diogenes. Our word tub, 
which is commonly adopted as the 
translation of dolium, gives an incor- 
rect notion of the object, which was 
made of baked earth, though of suffi- 
cient size to contain a man, as the oil 
jars used at this day in Italy, and those 
of the well-known story of the Forty 
Thieves, in the Arabian Nights. 

2. Dolium demersum, depressum, 
defossum. A dolium sunk partially 
into the sand which formed the floor 
of a wine cellar. (See the illustration 
s. Cella, 2.) This method was 
considered the best for keeping wine 
which had not a strong body ; but if 
it was of a generous quality, the 
dolium containing it stood upon the 
ground. Plin, h. A. xiv. 27. Colu- 
mell. xii. 18. 5. 

DOLON or DOLO (ooAwr). A 
long and strong stick, with a small 
sharp iron point at the extremity. Virg. 
Ain. vii. 664. Varro, ap. Serv. ad I. 

2. A sword stick, in which a 
poniard is concealed (Serv. ad Virg. 
*4Zn. vii. 664. Isidor. Orig. xviii. 9. 
4. Suet. Claud. 13. Plut. T. Grace//. 
10.) ; whence appropriately trans- 
ferred to the sting of a fly. Phaedr. 
iii. 6. 3. 

3. A small fore-sail on a ship with 
more than one mast, carried over the 
prow, and attached to the foremast 
(Isidor, Orig. xix. 3. 3. Liv. xxxvi. 
44. Polyb. xvi. 15. 2.), as is clearly 




seen in the annexed illustration, from 
a bas-relief of the Villa Borghese. If 



2.48 



DOMUS. 



the vessel had three masts, and, con- 
sequently, three sails, the dolon was the 
smallest of the three. Pollux, i. 91. 

DOMUS. A private house, occu- 
pied by a single proprietor and his 
family, as contradistinguished from 
the insula, which was constructed for 
the reception of a number of different 
families, to whom it was let out in 
lodgings, flats, or apartments. 

The Roman houses were usually 
built upon one fixed plan, varying 
only in the size, number, and' distri- 
bution of the apartments, according 
to the wealth of the owner, or the 
particular nature of the ground plot 
on which they stood. They were 
divided into two principal members : 
the atrium, or cavcedium, with its ap- 
propriate dependencies all round; and 
the peristylium, with its appurtenances 
beyond, which were connected by an 
intermediate room, the tablimim, 
and one or two corridors, fauces, or 
sometimes by both. These several , 
apartmen's constituted the nucleus of 
the edifice on its ground-plan, and are 
constantly found in every Roman house 
of any size ; their relative situations 
were always fixed ; and they were 
constructed according to a received | 
model, which was never deviated 
from in any important particular, as 
shown by the annexed illustration, 



J 



Hurl 



J L 



JL 



ion 



representing the ground-plan of three 
small houses, side by side, in one of 
the streets of Rome, from the marble 
map of the city, now preserved in the 
Capitol, but executed in the age of 
Septimus Severus. A A A, the pro- 
ihyrum, or entrance passage from the 



street ; b b b, the atrium, or cav<z- 
dium ; CC C, the peristylium ; D D V>, 
the tablinum, or passage-room which 
connects the two principal divisions 
of the building. Of the other pieces 
not marked by letters of reference, 
those by the side of the doors facing 
the street were shops : those in the 
interior, eating, dwelling, and sleep- 
ing rooms for the use of the family. 
The next illustration represents 




ground-plan of a Pompeian 



DOM US. 



house, which was also, in some re- 
spects, an insula ; for it was sur- 
rounded by streets on all sides, and 
some exterior dependencies with 
upper stories, which had no commu- 
nication with the principal portion of 
the structure. It is introduced for 
the purpose of affording an idea of the 
general style in which houses of the 
better class, such as were occupied by. 
priva:e persons in easy circumstances, 
were laid out, their method of ar- 
rangement and number of conveni- 
ences ; for the palaces of the great 
aristocracy, whether of wealth or 
birth, were much larger, and pos- 
sessed a greater variety of parts, ac- 
cording to the circumstances and taste 
of the owner. A separate account 
of these, as well as of the indivi- 
dual members here mentioned, will be 
found under each distinct name, and 
enumerated in the classed Index. 
The house is known as that of Pansa. 
and is supposed to have been occupied 
by a Pompeian gedile, from the words 
Pansam M.T). being painted in red 
letters, near the principal entrance. 
A. Ostium and prothyrum, the en- 
trance-hall, between the street door 
and the atrium, with a mosaic pave- 
ment, upon which the usual word of 
salutation, Salve, is inlaid in co- 
loured stones. B. The atrium, of the 
kind called Tuscan, in the centre of 
which is the impluvium {a), to receive 
the water collected from the discharge 
of the roofs, and a pedestal or altar (b) 
of the household gods, which it was 
customary to place on the impluvium. 
The length of the atrium is just half as 
long again as its breadth, as Vitru- 
vius directs that it should be. cc. The 
al&, or wings of the atrium, which are 
exactly two-sevenths of the length 
of the atrium, as required by Vitru- 
vius. ccccc. Five small cubicula, 
or chambers intended for the recep- 
tion of guests, or the use of the 
family, u. The Tablinum ; paved 
with mosaic, and open to the peristyle, 
so that a person who entered the 
house by the principal door, at A, 



249 

looked through the whole extent of 
the edifice, the atrium and peristylium, 
into the cecus and garden beyond, 
which must have presented a very 
beautiful and imposing vista : it 
could, however, be closed, when re- 
quired, with curtains, or by temporary 
screens. E. A corridor of communi- 
cation between the atrium and peri- 
stylium, for the use of the ser- 
vants, and to obviate the inconve- 
nience of making a passage room of 
the tablinum. In most cases there 
are two corridors of this description, 
one on each side of the tablinum, 
whence they are designated by the 
plural fauces. it. A chamber, the 
use of which is uncertain ; but it 
might have served as an eating- 
room (tricliniuj?i), a picture-gallery 
[pinacotheca), or a reception-room 
for visitors. This terminates the 
front part of the house, which in- 
cludes the atrium and its dependen- 
cies. FF. The peristylium, which 
forms the principal compartment of 
the second or interior division of the 
house. It has a roof supported upon 
columns, which form four corridors, 
with an open space in the centre, 
containing a basin of water {piscina), 
similar to the impluvium of the atrium, 
but of larger dimensions. GG. Ales 
of the peristyle, eeee. Four cubi- 
cula ; the thi-ee on the left of the 
peristyle were used as dwelling- 
rooms ; the other one, by the side of 
the passage E, appears to have been 
appropriated to the house poner [osti- 
arius), or to the slave who had the 
charge of the atrium {atriensis), as it 
had a direct and immediate commu- 
nication with both divisions of the 
house, as well as the surveillance of 
the entrance from the side street at 
m. H. The triclinium, or dining- 
room ; to which the contiguous cham- 
ber {/) communicating with it, and 
with the peristyle, was probably an 
appurtenance for the use of the slaves 
and attendants at the table. I. (Ecus, 
which is raised two steps above the 
peristyle, and has a large window 



DOM US. 



opening on a garden behind, as well 
as a passage (g) by its side, like the 
faux of the atrium, in order to give 
access to the garden without passing 
through the grand room. K. Culina, 
the kitchen, which opens at one side 
upon another room, or back-kitchen 
(k), furnished with dwarf walls for 
the deposit of oil jars, cooking uten- 
sils, &c. , and at the other, upon a 
court-yard (z), adjoining another of 
the side streets which flank the edi- 
fice, and to which it gives access by a 
back door (o). LL. A covered gallery 
{porticus or crypto), running along 
one side of the garden (m), in one 
corner of which is a tank {k), sup- 
plied from a reservoir (/) by its side. 
This completes the domus, or private 
house, occupied by Pansa, which has 
four separate entrances : the principal 
one in front (a), and three at the 
sides, two for the family and visitors 
[m and n), and one back door (pos- 
tica) for servants and tradespeople {o). 

But the whole insula contained 
several additional apartments or 
smaller houses, some with an upper 
story, which were let out to different 
tenant shopkeepers. ill. Three 
shops facing the main street. 2. A 
shop in the same street, which has 
also an entrance into the domus, and 
consequently is supposed to have been 
in the occupation of Pansa himself, 
in which his steward (disperisator) 
sold the produce of his farms, such as 
wine, oil, &c. to the inhabitants of 
Pompeii, in the same way as the 
nobility of Florence retail out the 
produce of their vineyards, at the 
present day, in a small room on the 
ground -floor of their palaces. 3 3. 
Two baking establishments, with 
their ovens {pp), wells (q), a knead- 
ing trough (r), and other appurte- 



nances. 44. Two more shops, let 
out to different trades. 5. 6, 7. Three 
small shops and houses, occupied by 
different tenants. 

The ground-floor, thus described, 
constituted the principal portion of an 
ordinary Roman domus or private 
house, and contained the apartments 
occupied by the proprietor and his 
family ; the upper story being distri- 
buted into small chambers (cosnacu/a), 
used as sleeping rooms, and chiefly 
assigned to the domestic part of the 
establishment ; for it is an incredible 
supposition that the small rooms on 
the ground-floor, which opened upon 
the porticoes of the atrium and peri- 
style, the principal apartments of the 
master and mistress, could ever be 
intended for slaves to sleep in ; and 
the upper story was frequently ap- 
proached by a double staircase, one 
from the interior of the house, and 
the other an external one ascending 
from the street. (Liv. xxxix. 14.) 
Indications of upper floors are ob- 
servable in many houses at Pompeii, 
and other ancient edifices ; but only 
one actual example has ever been 
discovered, and that no longer ex- 
ists. It belonged to a house in 
Herculaneum, which was entirely 
covered by a bed of lava, from the 
eruption which destroyed that city ; 
and when excavated, the wood-work, 
the beams, and architraves, were 
found to be nearly carbonized by the 
action of the heat, and the walls were 
so much shattered by the earthquake 
which accompanied the eruption of 
79, that the whole of the upper story 
was obliged to be taken down ; but 
the sectional elevation and plan of the 
rooms exhibited in the two following 
wood-cuts was made from actual 
survey before the demolition took 




TIFTTT 




DOM US, 



place, and consequently afford the 
only authentic example of this part 
of a Roman dwelling house now 
attainable. Nothing is conjectural 
nor restored, excepting the mere tiles 
of the roof, and curtains between the 
columns. A. Section of the atrium. 
The four columns seen in front sup- 
ported the roof B (also marked on 
the subjoined ground-plan), which 
covered over one of the four corridors 
surrounding the central and open 
part of the atrium. Iron^ rods and 
rings for hanging curtains between 
the columns, as shown by the en- 
graving, were found in their original 
situations when the excavation was 
made. They were intended to shut out 
the sun, which beamed down into the 
lateral corridors from the compluvhim, 
or open space in the centre, c c. Two 
of the lateral corridors just mentioned 
which have doors at their furthest 
ends, opening into separate apart- 
ments, and are enclosed above by the 
flooring of the upper story, d. Sec- 
tion of the peristylium. The eight 
columns seen in front enclose one of 
the sides of an open area, which was 
laid out as a garden. E E. Two of 
the lateral corridors, which surround 
three sides of the peristyle, open to 
the garden on the side nearest to it 
through their intercolumniations, and 




enclosed at the back by the party 



wall between them and the adjacent 
apartments. F F. Sectional elevation 
of the upper story, the plan and dis- 
tribution of the apartments in which 
is given in the wood-cut subjoined. 
Nos. a to m. Twelve small chambers 
{ccenaaila) built over the corridors 
of the court below, and which re- 
ceived their light from windows 
looking down into the interior, as 
shown by the elevation. The first 
six open upon a terrace, G (solarium) 
above the garden ; and, consequently, 
may be surmised to have been in- 
tended for the use of the proprietor, 
his family, and guests. Nos. n to r. 
Another set of small rooms, some of 
which have windows to the street, 
probably used as sleeping rooms for 
the slaves. Nos. s to v. Rooms pro- 
bably apportioned to the female pari 
of the establishment ; as they form a 
suite by themselves, with a separate 
communication from the rest. The 
floors of these upper 100ms are laid 
in mosaic work, as well as those 
below. The upper story only extends 
over two sides of the peristyle, as 
shown by the elevation ; the other two 
have no superstructure above the roof 
which covered the garden corridor. 

2. (o7/coc). A Greek house. No 
excavation has yet laid open the plan 
of a Greek house ; consequently, any 
attempt to define and distribute its 
parts can only be drawn from inci- 
dental passages of various authors, 
and must be regarded as purely con- 
jectural ; but as there undoubtedly 
were some essential points of differ- 
ence between the domestic habita- 
tions of the Greeks and Romans, a 
supposed plan is here inserted, upon 
the authority of Becker, which will 
at least serve to explain the terms 
which the Greeks employed to desig- 
nate the various parts of their dwell- 
ing houses, and to give a general 
idea of the usual plan on which they 
were arranged, a. av\tioc Ovpn. The 
house door, or principal entrance 
from the street, b. Ovpujptlor, Ovpt'»i>, 
FiaQvpa. The entrance-hall or pas- 



DOMUS, 



DONA TIVUM. 



sage ; the rooms on the right and left 
of which afforded accommodation for 
stabling, for the porter's lodge, and 
slaves, c. av\i\. The court and peri- 
style forming the first division of the 
house, which was appropriated to the 




(Nos. i — 9. ), formed collectively the 
avSpwvTric. d. pkntuXoc, or p.kaav\oi; 
Qupa. The door in the passage which 
separates the two principal divisions 
of the house, and which when closed 
shuts off all communication between 
them. e. The court and peristyle 
forming the second or interior part 
I of the house, which was appropriated 
to the females, and with the various 
dependencies (Nos. 1 1 — 18.) situated 
arround it, forms collectively the 
yvvaiKtuviTi^. f. TrpnGTCtc, or irapanTCic. 
A chamber at the further end of 
the peristyle, probably used as a re- 
ception or retiring room by the 
mistress of the house, gg. OaXaftoc, 
and ajX(piBa\auoQ. The principal bed- 



chambers, h h h. ioriovic. Rooms in 
which the women worked at the 
loom. i. Kijiraia (Jvpa. The garden 
gate, or back door. 

DONA'RIUM. The treasury of 
a temple ; i. e., an apartment in 
which the presents made to the gods 
were preserved. Serv. ad Yirg. sEn. 
xii. 179. Lucan ix. 516. Apul. 
Met. p. 183. 

2 A votive offering, or present 
made to the gods as a token of grati- 
tude for some favour received, such 
as the recovery from sickness, or an 
escape from some impending calamity 
or accident. (Aul. Gell. ii. 10. Au- 
rel. Vict. Cces. 35.) These of com-se 
varied in value and character accord- 
ing to the wealth and taste of the 
donor, consisting of arms taken in 
war, tripods, altars, and valuables of 
any kind from persons who had 
means at their command ; but the 
poorer classes made more humble 
offerings, such as tablets inscribed or 
painted with a representation of the 
deity miraculously interposing in 
their behalf, and similar to those so 
frequently seen suspended in Roman 
Catholic churches ; or very generally 
articles in terra-cotta, which weie 
kept for sale ready made at the mo- 
deller's shop, representing only cer- 
tain portions of the body, such as an 
arm, hand, eye, foot, leg, &e., so that 
each person could purchase by itself 
the exact part believed to have been 
healed by divine assistance. The 
illustration affords a specimen of 




three donaria of this kind, all from 
originals in terra-cotta ; a foot, two 
eyes, and a hand, which last has a 
gash in the centre, representing the 
wound the cure of which it was in- 
tended to commemorate. 

DONATI'VUM. A largess or 
bounty given by the emperor to the 
army, as contradistinguished from 
congiwium, which was bestowed upon 



DORMITA TOR. 

the people generally Suet. Nero, 7. 
Lamprid. Alex. Siv. 26. 

DORMITA'TOR {i^tpoKoiToc). 
A thief who commits depredations 
by night. Plaut. Trin. iv. 2. 20. 
Hesiod. Op. 603. 

DORMITO'RIUM {Swpartov). 
A dormitory, or bed-chamber (Plin. 




H. N. xxx. 17. Plato. Rep. iii. 4. 
Nichol. Damasc. p. 284. Tauchnitz), 
which appears to have been generally 
small, and scantily furnished, as shown 
by the example, representing the 
interior of Dido's bed-room, from the 
Vatican Virgil. 

DORSUA'LIA. A broad band, 
made of richly dyed cloth, or em- 
broidered silk, which was laid across 
the backs of horses upon state occa- 
sions, as in the example, from the 




triumphal procession of Constantine ; 
or upon cattle conducted to the sacri- 
fice, of which the Arch of Titus at 
Rome affords several specimens. Tre- 
bell. Gallien. 8. 

DORSUA'RIUS and DOSSUA'- j 
RIUS. A beast of burden ; a pack- 
horse (Varro, R. R. ii. 10), or ass | 



DRACHMA, 253 
(Id. ii. 6.), as in the example, from 




the triumphal arch of Constantine. 

DORYPH'ORUS (dopv<p6 P oc). A 
halberdier; the name given to the 
soldiers who formed the body-guard 
of the Persian kings, from the weapon 
they carried ; but the word does not 
occur in Latin, excepting as the 
name of a celebrated statue by Poly- 
cletes (Cic. Brut. 86. Plin. H. N. 
xxxiv. 19. § 2.), representing one of 
these guards, or of a soldier armed 
like them. 

D RACH'MA {epayyii). A 
drachm; the piincipal silver coin of 
the Greek currency, as the denarius 
was of the Roman, and of which 
there were two standards of different 
weights and value- — the Attic and 
^Eginetan. 

The Attic drachm, represented by 
the annexed wood -cut, from an ori- 
ginal in the British Museum, of the 
actual size, was mostly current in the 
north of Greece, the maritime states, 




and in Sicily. It contained six obols, 
and its average value was nearly 
equal to g%d. of our money ; but 
when Pliny (J7. A 7 , xxi. 109.) speaks 
of the Attic drachma and Roman de- 
narius as being of equal weight, it is 
to be understood that the latter had 
been reduced from its original stand- 
ard. Hussey, Ancient Weights and 
Money, p. 47 — 48. 



254 



DRACO. 



DUUMVIRI. 



The yEginetan drachm, repre- 
sented by the next wood-cut, also 
from an original of the same size in 
the British Museum, was used in 
Bceotia, and some parts of northern 
Greece, and in all the states of the 
Peloponnesus except Corinth. It 
was of a higher standard than the 
Attic, containing about 93 grains of 
pure silver, and was worth about 




is. if. of our money. Hussey, 
Ancient Weights and Money, p. 59 
—60. 

DRA'CO. A dragon : the ensign 
of a military cohort, adopted from 
the Parthians, and 
inlroduced into the >^^)f}k 
Roman army, about *^TXa 
the time of Trajan. / fjp| 
It was made in the LfM 
image of a large j WB 
dragon fixed upon j '\^f#. 
a spear, having its j ^ '||L\^ 
head with gaping ,/ 
jaws of silver, while " 
the rest of the body was formed of 
coloured cloth or skins, which, being 
hollow and flexible, waved about 
with motions like those of the reptile 
it represented, as the wind entered 
through the open mouth. Veget. 
Mil. ii. 13. Ammian. ~xvi. 10. 7. 
and 12. 39. Claud, iii. Cons. Honor. 
138. Nemesian. 85. 

2. An apparatus for heating water, 
in a manner which economized both 
time and fuel ; consisting of a boiler 
furnished with a number of tubes set 
round it, like the coils of a serpent, 
so that the entire quantity of the 
liquid was exposed at the same time, 
and in small quantities, to the action of 
the fire. Senec. Qucest. A T at. iii. 24. 

D R A C O N A'R I U S. The 



standard bearer of a military co- 
hort, who carried the draco, or dragon 
represented in the preceding wood- 
cut. (Ammian. xx. 4. 18. Veg. 
Mil. ii. 7. and 13.) Ensigns of this 
description are frequently represented 
on the Columns of Trajan and An- 
tonine amongst the barbarian troops, 
but not in the Roman armies, though 
they were introduced into them about 
the time of Trajan. It is from this 
word that the modern name of dra- 
goon originated, meaning in its ori- 
ginal sense a cavalry soldier, who 
followed the ensign of a dragon. 

DRACONTA'RIUM. A band 
for the head (Tertull. Cor. Mil. 15. ), 
either twisted to imitate the coils of 
a serpent ; or, perhaps, made in the 
form of two serpents joined together, 
like the Torquis; see the illustration 
s. Torqtjatus, and compare Inscript. 
ap. Don. cl. I. n. 91., torquem aureum 

j ex dracontariis duobus ; but worn 
round the head instead of the neck. 

DROMO, or DROMON (fyojuwi ). 
A particular kind of ship, remark- 
able for its celerity, but respecting 
which nothing more definitive is 
known. Isidor. Orig. xix. 1. 14. 

j Cassiodor. Far. Ep. v. 17. 

DROMONA'RIUS. A rower in 

I a vessel termed droino. Cassidor. 
Far. Ep. iv. 15. 

DUL'CIA. Confectionery ; a ge- 
neral name for all kinds of sweets 
made with honey, as contradistin- 
guished from pastry, or sweets made 
with meal, fruits, milk, See. Lam- 

| prid. Ela^. 27. and 32. 

DULCIA'RIUS. A person who 
made dnlria ; i.e., a confectioner, as 
contradisiinguished from a pastry- 
cook. Lamprid. Elag. 27. Trebell. 
Claud. 14. Veg. Mil. i. 7. 
DUUM'VIRI. Two officers ap- 

I pointed to act together for various 
purposes ; as, 

1. Duumviri jure dicundo ; two 
chief magistrates who administered 
the laws in provincial towns. Cic. 
Agr. ii. 34. 

2. Duumviri pcrdnelhonis ; two 



EBORARIUS. 



EL A EO THESI UM. 



2 55 



colleagues appointed to try persons 
accused of the murder of a Roman 
citizen. Liv. i. 26. Cic. Rabir. 
perd. 4. 

3. Duumviri Navales ; two col- 
leagues appointed upon emergencies to 
superintend the equipment or repairs 
of a fleet. Liv. ix. 30. 

4. Duumviri sacrorum ; two col- 
leagues appointed to take charge of 
the Sybilline books, a duty subse- 
quently transferred to the decemvirs. 
Liv. iii. 10. 

E. 

EBORA'RIUS. A carver and 
worker in ivory. Imp. Const. Cod. 
10. 64. 1. 

ECHTNUS (tvu'os). A hedge- 
hog; and a sea-urchin, the shell of 
which was made use of by the an- 
cients as a receptacle for medicine 
and other things ; hence the name is 
given by Horace {Sat. i. 6. 117.) to 
a table utensil, formed of the same 
material, or modelled to imitate it ; 
but the particular use f$V which he 
intended it to be applied is not clearly 
apparent. Heindorf {ad I. ) says, a 
bowl for washing the goblets in. 

2. In architecture. A large ellip- 
tico-circular member in a Doric 

capital, placed imme- 1 1 

diately under th r- y 

baacus. (Vitruv. iv. , j jfff 
3. 4.) In the finest UN If HIM 
specimens of the order it is either 
elliptical or hyperbolical in its out- 
line, but never circular ; and, with 
the annulets under it is of the same 
height as the abacus. (Ehnes, Lec- 
tures on Architecture, p. 205.) The 
example represents a capital from the 
Parthenon. 

EC'TYPUS {tKrvTroc). Formed 
in a mould {tvtcoc, forma), which has 
the device intended to be displayed 
impressed in it, so that the cast (ecty- 
pum) which comes from it presents 
the objects in relief, like a terra- 
cotta cast (Plin. H. JV. xxxv. 43.), as 
will be readily understood by the 
annexed engravings. The right-hand 



one represents an ancient mould 




from an original found at Ardea, and 
the left-hand one shows the terra- 
cotta cast with its figures in relief 
which comes out of it. 

2. Ectypa gemma, or scalptura ; an 
engraved stone which has the images 
upon it carved in relief, like a ca?neo, 
instead of being cut into it, like a 
seal or intaglio. Seneca, Ben. iii. 
26. Plin. //. N. xxxvii. 63. 

EDOLA'TUS. Shaped, and cut 
out of the rough with a dolabra 
(Columell. viii. 11. 4. and Dola- 
TUS) ; hence figuratively applied to 
anything which is finished with 
great care and nicety. Cic. Att. 
xiii. 47. Compare Varro, ap. Non. 
p. 448. 

EFFIGTES. , In general, any 
likeness, image, or effigy. But with 
reference to an express use of the 
word in the Roman funera gentilitia 
(Tac. A?in. iv. 9. Compare iii. 5.), 
see Imagines, 2. 

ELAEOTHESTUM (s\mo%k<?wv). 
The oiling room in a set of baths, 
where the oils and unguents were 
kept, and to which the bather retired 
to be rubbed and anointed. In large 
establishments a separate chamber 
was appropriated for this purpose, ad- 
joining the frigidarium, or cold cham- 
ber (Vitruv. v. 11. 2), as exhibited 
in the illustration at p. 142., from a 
painting representing a set of baths 
in the Thermae of Titus at Rome ; 
where it is seen with the name 
written over it, filled with jars for 
unguents ranged upon shelves, and 
occupying the last chamber on the 
left hand', immediately adjoining the 
frigidarium, as directed by Vitruvius. 



2 5 6 



ELENCHUS. 



EMISSARIUM. 



But in private baths, or in public 
ones of a more limited extent, such 
as those of Pompeii, the tepid cham- 
ber seems to have been used as a 
substitute. See the article Tepi- 
DA'RIUM. 

ELEN'CHUS. A large drop 
pearl in the shape a of pear, much 
esteemed by the wealthy ladies of 
Rome, who were fond of wear- 
ing two or three together as 
pendants for the ears, or dang- 
ling from the rings of the fin- 
gers. (Plin. H.N. ix. 56. Juv. 
Sat. vi. 459.) The example 
is copied from an original ear- 
ring, consisting of one large elenc/ius, 
for a drop. 

E'LIX. An -ancient word, ex- 
pressing a broad deep furrow drawn 
between the ridges in corn fields, for 
the purpose of draining the moisture 
from the roots of the plant Serv. 
ad Virg. G. i. 109. Columell. ii. 8. 3. 

ELLYCH'NIUM (i\\vxyiov, 9pv- 
aXXtt,). The wick of a candle or 
oil-lamp ; usu- 
ally made with k 
the pith of a fm 
rush, or the 
coarse fibres of 
flax, or of pa- 

pyrus. (Vitruv. viii. 1. 5. Plin. 
H.N xxiii. 41. Id. xxviii. 47.) The 
illlustration represents a small Roman 
lamp, with the wick burning. 

EMBLE'MA (fy/SAr/pi). Inlaid; 
but especially applied to mosaic work 
(Varro, R. R. iii. 2 4. Lucil. ap. 
Cic. Brut. 79.), which is composed 
with a number of small pieces of 
coloured stone, glass, or enamel set 
^in a bed of cement. As this art was 
practised in various ways, we meet 
with several names in reference to 
it, each of which discriminates some 
one of the particular methods, such 
as tessellatum, sectile, vermiculatum; 
and others enumerated in the classed 
Index. If the present one, emblema 
is not a generic, but specific term, 
it may have been used to desig- 
nate a description of mosaic little 




known, but practised in the vilia of 
Hadrian, near Tivoli, some frag- 
ments of which have been published 
by Caylus (Recueil, vi. 86.), and 
consisting of bas-reliefs modelled in 
very hard stucco, which are inlaid 
with small pieces of different coloured 
stones and enamels, so as to have 
the appearance of being painted. 
The second meaning attached to the 
word emblema supports such a con- 
jecture. 

2. A raised ornament or figure 
not cast nor cut out of the solid, but 
affixed to some other substance as an 
ornamental mount ; such, for instance, 
as a figure ,11 gold rivetted upon a 
vase of silver, or in silver upon 
bronze. (Cic. Verr. ii. 4. 17. 22. 
24.) This art was much practised 
and highly esteemed by the ancients ; 
and several specimens of it have been 
discovered at Pompeii. 

EMBOLI A' RI A. An actress 
who came upon the stage between 
the acts of a play to keep the audi- 
ence amused by reciting some kind 
of interlude {embolium, t/m[56\toi'). 
Plin. H. N. vii. 49. Inscript. ap. 
Murat. 660. 4. 

EM'BOLU M (*>/3oW). Pro- 
perly, a Greek word Latinized (Pet. 
Sat. 30.), meaning the beak of a ship 
of war, expressed in Latin by the 
word Rostrum, under which it will 
be explained and illustrated. 

EM'BOLUS (f>/3oW). The pis- 
ton and sucker of a pump, syringe, 
or other similar contrivance for 
drawing up and discharging water. 
(Vitruv. x. 7.) See Ctesibica Ma- 
china and Sipho. 

EMERTTI. Roman soldiers who 
were discharged from military duty 
(Val. Max. vi. I. 10. Ov. Trist.'w. 
8. 21.), having served the full time 
required by law ; viz. , twenty years 
for the legionaries, and sixteen for the 
praetorians. Tac. Ann. i. 78. Dion. 
Cass. lv. 23. 

EMISSA'RIUM. An emissary; 
any artificial canal formed with the 
object of draining off a stagnant 



EMPLECTON. 



EMPOROS. 



257 



body of water. (Cic. Fam. xvi. 18. 
Plin. H. N. xxxiii. 21.) Remains of 
some stupendous works of this nature 
are still to be seen in Italy, con- 
structed as emissaries for the lakes 
of Albano and Fucino (Suet. Claud. 
20. Plin. H. X. xxxvl 24. § 11.); 
the first in consequence of an alarm 
felt that the waters would overflow, 
and inundate the country ; the other 
for the purpose of reclaiming the 
land with a view to cultivation. The 
last, which remains nearly entire, 
and has been cleared out and made 
passable by the king of Naples, con- 
sists of a tunnel more than three 
miles in length, a large portion of 
which was excavated by the hammer 
and chisel through a stratum of hard 
rock, forming the basis of the moun- 
tain through which it passes at a 
depth of 1000 feet below the highest 
summit. The remainder, which lies 
but a few feet below the surface of 
the earth, is entirely vaulted in 
brick ; of which material the arch- 
way through which the water was 
discharged into the river Liris, is 
composed ; but the embouchure 
fronting the lake presents a fine ar- 
chitectural elevation of masonry. 

EMPLECTON (t>-Aa--oi'). A 
method of constructing walls intro- 
duced by the Greeks, and copied by 
the Roman architects, in which the 
outside surfaces on both sides were 
formed of ashlar laid in regular 
courses, as shown by the upper part 
of the annexed illustration (letter E), 




and the central space between them 



filled in with rubble work (G), layers 
of cross stones {Jiatoni, f) being 
placed at intervals in regular courses, 
and of sufficient size to extend 
through the entire thickness of the 
wall from side to side, and so act as 
girders to bind the whole together. 
Virtuv. ii. 8. 7. Plin. H. N. xxxvi. 51. 

EMPO'RIUM [i/nropiov). A mart 
ox factory; i.e., a large building, 
containing ranges of bonding ware- 
houses, in which foreign merchan- 
dize, brought by sea, was deposited, 
until disposed of to the retail dealers. 
(Vitruv. v. 12. 1.) The site was 
always enclosed by lofty walls, and 
often strongly fortified (Liv. xxi. 
57.), if the town which contained the 
emporium was situated in an exposed 
part of the country. The annexed 
engraving is a ground-plan of some 




very extensive ruins on the banks 
of the Tiber under the Aventine hill, 
believed to be the remains of the 
emporium of Rome. (Liv. xxxv. 
10.) The single line outside shows, 
the circuit of the external wall en- 
closing the factory ; 0, a flight of 
steps leading down to the river, as 
mentioned by Livy ; a b, and c d, 
portions of wall containing the colon- 
nades down to the river side, as 
directed by Vitruvius ; m to n, re- 
mains of the walls which enclosed 
the range of warehouses. The parts 
actually remaining when the survey 
was made are marked by the dark 
lines ; but it will be perceived that 
these remains are sufficiently exten- 
sive to authorize the completion of 
the circuit, as given in a lighter tint. 

EM'POROS {tfiiropor). Properly, 
a Greek word, and, consequently, il- 
lustrative of Greek customs ; but 
used in^ a Latin form by Plautus 
{Merc. Prol. 9.), and Ausonius 



258 ENCARPA. 



END ROM IS. 



{Epist. xxii. 28.). It designates a 
person who acted in the double capa- 
city of merchant and seaman ; being 
appointed by some shipowner or 
capitalist to a vessel which he con- 
ducted on a voyage of traffic for the 
advantage of his employer ; hence, 
in Plautus (/. c), he is styled emphoros 
Philemonis ; i.e., who imports for his 
principal Philemon. 

ENCARTA (tyKapira). Festoons 
of fruit and flowers, employed as a 




decorative ornament in sculpture or 
painting (Vitruv. iv. 1. 7.), as shown 
by the example, from a Roman se-. 
pulchral monument, 

ENCAUS'TICA (iyKavoruti,). 
The art of encaustic painting; i.e., 
in colours mixed with wax, and 
afterwards hardened by the action of 
fire. This art, as practised by the 
ancients, is now lost, nor has the 
process actually adopted by them 
ever been thoroughly ascertained ; 
although the Count Caylus imagined 
that he had discovered the secret, 
and wrote an express treatise on the 
subject. They appear to have pursued 
several methods, and to have con- 
ducted the operation in very different 
ways : either with colours mixed 
with wax, laid on with a dry brush, 
and then burnt in with a cautery 
{cautermm) ; or by marking out the 
drawing with a hot etching iron (ces- 
truni) upon ivory, in which process 
wax does not appear to have been 
used at all ; or, lastly, by liquifying 
the wax with which the colours were 
mixed, so that the brush was dipped 
into the liquid compound, and the 
colour laid on in a fluid state, as it is 
with water colours, but subsequently 
smoothed and blended by the opera- 




tion of heat. Plin. //. N. xxxv. 41. 
lb. 39. Vitruv. vii. 9. Ov. Fast. hi. 831. 

EN COM BO' MA (sy/co^wjua). 
Properly, an article of Greek attire ; 
viz., a sort of apron tied round the 
body in a knot (whence the name 
arose), and worn by s'aves to keep 
the tunic clean 
(Longus. ii. 33 A 
by young girls 
(Varro, ap. Non. 
s. v. p. 542.), and 
also on the comic 
stage. (Jul. Pol- 
lux, iv. 18.) Both 
of these latter uses 
are exemplified by 
the annexed figure 
of a young female, 
playing on the 
double pipes, from 
a marble bas-relief 
representing a scene from some play. 

EN'DROMIS. A large blanket, 
or wrapper of coarse woollen cloth, 
in which it was 
customary to en- 
velope the body in 
order to prevent 
the chance of tak- 
ing cold after the 
violent exertions of 
gymnastic exerci- 
ses (Juv. iii. 103. 
Mart." iv. 19. Id. 
xiv. 126.) It is 
frequently depicted 
in scenes illustra- 
tive of life in the 
gymnasium, upon 
figures in repose, 
similar to the one in the annexed 
engraving, from a fictile vase, re- 
presenting a youth who has just 
gone through his exercises, standing 
before his teacher ; but though the 
word itself is Greek, and has especial 
reference to the customs of that 
people, it is only amongst the Latin 
authors that it occurs in the sense 
explained. Compare No. 3. 

2. Endromis Tyria. A wrapper 
of similar character and object, but 




EN DRCMIS. 



EPHEM ER IS. 



259 



of a finer texture, adopted by the 
Roman ladies, who addicted them- 
selves to masculine habits, and af- 
fected the same pursuits as men. 
Juv. vi. 246. 

3. (ivSpofiiv). In Greek, the word 
has a very different meaning, being 
employed to designate the boots ori- 
ginally invented and worn by the 




Cretan huntsmen (Nonn. Dionys. v. 
p. 154.), and thence adopted by the 
Greek artists as the characteristic 
chaussure of Diana in her quality of 
a huntress. (Callim. Hymn, in Dian. 
16. Jul. Pollux, vii. 93.) Conse- 
quently, they are seen on a great 
number of statues of that goddess, on 
which they appear like the example 
in the annexed illustration, from a 
bronze of Herculaneum, with the 
toes exposed, and a broad band just 
above them {fascia firimos sistitur ad 
digitos, Sidon. Apoll. Carjji. ii. 400.), 
to which the two side leathers are 
attached. These open down the 
front, but are pierced with holes on 
their edges, for the thong to pass 
through which binds them on the 
legs, in the same manner as with our 
lace-up boots (Galen. Comment, in 
Hi^pocr. de Articul, and Spanheim 
ad Callim. /. c.) The cross laces, 
which are omitted in our bronze, 
may be seen on other statues. {Mus. 
Chiaramont. tav. 17. Mus. Pio-Clem. 
ii. 15. iii. 38.) The Latin poets al- 
ways dress Diana in cothurni, which 
were close boots, enveloping the 
whole foot (see Cothurnus, and the 
illustrations there given) ; but ivdpo- 
fxioec; received their name because 



they were peculiarly fitted for per- 
sons who required great activity and 
agility in running (Galen. /. c. ) ; 
which, it is obvious, would be mate- 
rially assisted by the free play al- 
lowed to the foot from the exposure 
of its extremities, instead of the 
whole being constrained by an upper 
leather ; consequently, they are ap- 
propriately worn in this form by a 
Faun and by a shepherd, in the Nea- 
politan Museum. {Mus. Borb. viii. 
23. ib. 25.) These considerations 
as well as the uniform testimony of 
ancient statues, seem to warrant the 
distinction above drawn, though it does 
not depend upon any positive verbal 
authority ; while at the same time, 
it helps to explain the real difference 
between the names of three kinds of 
hunting boots commonly received as 
synonymous terms : icoOopvcc, which 
reached up to the calf, was laced in, 
front, but covered the entire foot •; 
ivdpofxic, also reaching up to the calf, 
and laced in front, but leaving the 
toes uncovered ; and apfivXr], a half 
boot, laced in front, but only reaching 
up to the ankle. 

ENSIC'ULUS (KttpiStoi ). Dimin- 
utive of Ensis ; a little sword, for a 
child's toy. Plaut. Rud. iv.4. 112. 
and Crepundia. 

ENSIS (£<>c)- A sword. Used 
mostly by the poets, but synonymous 
with Gladius. (Quint, x. 1. n.) 
See also Falx, 6. 

EPHEBE'UM {Itpnptlov). A 
spacious apartment in the Greek 
gymnasium, where the youths per- 
formed their exercises in the presence 
of their masters, (Vitruv. v. II. 
Strabo, v. 4. 7.) See the illustration 
s. Gymnasium (letter c), which will 
give an idea of its usual locality and 
relative size, as compared with the' 
other divisions of the establishment. 

EPHE'MERIS (tyifjuepi'c). m A 
journal or diary, kept by an indivi- 
dual, in which he noted down the 
daily occurrences, actions, or expen- 
diture. Cic. Quint. 18. Nepos, 
xxv. 13. 



2 Go EPHIPP1ARIUS. 



EP1CR0CUM. 



EPHIPPIA'RIUS. A saddler, 
who makes ephippia. Inscript. ap. 
Fabrett. p. 712. n. 339. 

EPHIPPIATUS. One who rides 
upon a saddle pad (Ephippium) in- 
stead of the bare back. See the illus- 
trations s. Eques. Caes. B. G. iv. 2. 

EPHIPTIUM (tyVartov). A pad 
saddle for horses (Varro, R. R. ii. 7. 




15. Caes. B.G. iv. 2.), used by the 
Greeks and Romans. It is very 
commonly represented in works of 
art as a piece of cloth doubled several 
times into a thick square pad (see the 
second illustration s. Eques) ; but 
also occurs in many instances under 
the form of a regularly stuffed pad, 
like the annexed example, from the 
Antonine Column. Similar ones are 
likewise seen in the paintings of 
Herculaneum and Pompeii, and on 
the arch of Septimius Severus ; but 
the pad is more frequently concealed 
by the housings {stragula), which 
covered both sides of the animal. 

EPH'ORI (tyopoi). Literally, 
overseers; but the word was espe- 
cially used as the title of five magis- 
trates elected annually by the people of 
Sparta, to whom very great political 
powers were entrusted, which enabled 
them to exercise a control over the 
kings and all the other magistrates ; 
and thus, in the Dorian constitutions, 
the. Ephori enjoyed a position some- 
what analogous to that of the tribunes 
at Rome. Aristot. Polit. ii. 10. Cic. 
Leg. iii. 7. 

EPIB'AT^E {i^arai). Marines 
of the Greek navy ; a body of troops 
who served exclusively on board 
ship, entirely distinct from the land 
forces, from the seamen, and the 



rowers. (Herod, vi. 12. Hirt. B. 
Alex. 11. Vitruv. ii. 8. 14.) The 

Romans designated the marines of 
their navy bv the term Classiarti. 

EPICH'YSIS {> TTi\vmc). A Greek 
jug, with a small and narrow lip, out 
of which wine was poured at an en- 
tertainment into the cup from which 
it was drunk ; and adopted by the 
Romans, as they advanced in civili- 




zation, instead of the less elegant 
guttus, previously used by them for a 
similar purpose. (Plaut. Rud. v. 2. 
22. Varro, L. L. v. 124.) The illus- 
tration represents an epichysis, with 
the receiving cup of glass, from a 
Pompeian painting, and a Nereid 
pouring wine out of one into a patera, 
from a painting of Stabia. In all 
the numerous pictures of Pompeii, 
&c, which represent the act of pour- 
ing wine from a jug, the jug is con- 
stantly formed with a small neck and 
narrow lip, like those exhibited 
above ; which identifies the epichysis, 
and establishes its difference from the 
ezver, or water jug [gutturnium, -npo- 
X'ooc ), which had a thicker throat and 
wider lip. 

EP I CO' PUS (iTrUioTToc). Pro- 
perly, a Greek word, used to desig- 
nate a row boat, as contradistin- 
guished from a sailing vessel. Cic. 
Alt. xiv. 16. 

EPIC'ROCUM (l-Upoicov). Pro- 
perly, a Greek word, used to designate 
a woman's garment ; but whether it 
meant of a fine texture, or of a saffron 
colour, is matter of doubt, for it may 
be derived from icpoKi] (subtemen), or 
from kpokoq (crocus). Naevius ap. 
Varro. L. L. vii. 5. Varro, ap. Non. 
s. Habitare, p. 318. Festus, s. v. 



EP1DIPNIS. 



EPIST0M1UM. 26l 



EPIDIP'NIS {iTriSetTn'u.l Pro- 
perly, a Greek word, which desig- 
nates the last course at a dinner. 
Vet.- Sat. 69. 6. Mart. Ep. xi. 31. 

EPID'ROMUS {tiridponoc). A 
running rope attached to the neck of 
a tunnel net (cassis), and passing 
through a set of rings affixed to the 
mouth of the purse, by pulling which 
the huntsman, who lay in ambush, 
closed the net like a bag, when the 
game had been driven into it. Plin. 
H. N. xix. 2. § 2. Jul. Poll v. 29. 
Xen. Cyneg. vi. 9. 

2. The sail on the mast nearest to 
the stern in vessels fitted with more 




than one mast. ( Jull. Poll. i. 91 
Isidor. Orig. xix 3 3.) Pollux and 
Isidorus differ in some degree from 
each other, the one giving the name 
to the sail, the other to the mast ; 
but probably the term included the 
mast with the sail belonging to it. 
The illustration is copied from a bas- 
relief of the Villa Borghese. 

3. Enumerated by Varro (R. R. 
xiii. I.) amongst the articles neces- 
sary for the furniture of an oil press 
room (torcularium), but without any 
context to explain what is meant. 

EPIGRUS. See Epiurus. 

EPILIM'MA. A sort of unguent 
of the cheapest and most common 
description. Festus. s. v. 

EPIRHE'DIUM. 
word, composed from 
preposition iizl 




and the Gallic 
term Rheda; the 
true meaning of 
which is not set- 
tled. Scheffer and Ginzrot believe 
it to have been a square or oblong 



cart, enclosed with four sides, in the 
same manner as the rheda, and 
consequently to be represented by 
the annexed figure, from a bas-relief 
in the Museum at Verona. Others 
consider that the word has reference 
only to the ornamental decorations of 
a rheda, or that it designates the har- 
ness of the horses which drew it. 
Juv. Sat. viii. 66. Schol. Vet. ad. I. 
Scheffer, R. V. ii. 23. Ginzrot, 
Wagen und Fahrzverke, xviii. 

EPISTOLA (imarol-n). A letter, 
written upon paper for transmission 
to an absent person, as distinguished 
from one written upon waxed tablets. 
(Cic. Cses. Tac. Mart. Ep. xiv. 11. 
charts epistolares. Plin. H. N. xiii. 
21. Franz.) The illustration represents 




a letter folded and sealed, with its 
direction, as represented by a paint- 
ing on the walls of a house at Pompeii, 
in which it is accompanied by various 
implements employed for writing, 
both on paper and wax. It is en- 
graved in the Mus. Borb. xiv. tav. a 
and B. 1852. where the address upon 
it is thus decyphered, Marco. Luc- 
retio. Flamini. Martis. Decur- 
ioni. Pompei — To Marcus Lucretius. 
Priest of Mars, Decurion, Pompeii. 

EPISTOM'IUM (imoTOfuor). 
The cock of a water pipe, or of any 
vessel containing liquids to be drawn 
off in small quantities when required. 
(Vitruv. ix. 8. 11.) The illustration 




represents an original bronze water 
cock found at Pompeii, similar in 



262 



EPISTYLIUM. 



EPULONES. 



constructive principle to those now in 
use, but of a more tasteful design. 
Seneca says {Ep. 86.) that in his day 
the baths of Rome, even for the com- 
mon people, were furnished with 
silver cocks. 

EPISTYL'IUM (i ttuttvXiov) . 
Properly, a Greek word adopted by 
the Roman architects to designate 
the architrave or main beam laid 
horizontally over the capitals of a 
column, from one to the other, in 
order to form a continuous bed for a 
superstructure to rest upon. When 




the architrave was made of timber, 
it was properly called trabs j when 
of stone or marble, episty litem, though 
that word, as a general term, may 
with, equal correctness be applied to 
both. (Vitruv. iii. 5. II. Varro, 
R. R. iii. 5. 11. Festus, s.v.) The 
example, from a tomb sculptured in 
the rock at Beni Hassan, explains the 
original use and early application of 
the epistylium to columnar architec- 
ture. In this instance, it has no 
other members over it ; merely form- 
ing a connecting surface for the roof 
{tectum) to rest upon; but the next 
engraving shows its finished state as 
one of the principal members of an 
entablature. 

2. Epistylia ; in the plural, the 
epistyles ; which comprise the whole 
superstructure above the abacus of a 
column, forming what our architects 
term collectively the entablature, 




otherwise divided by them into three 
distinct mem- 
bers ; the ar- 
chitrave {trabs, 
or epistylium,) at 
bottom ; the 
frieze {zop/wrus) 
next above ; and 
the cornice over 
all, for which 
the Romans had 
no collective 
name, but always 
described it by 
enumerating the separate members 
which it contained. See Corona, 15. 

EP'ITHALAM'IUM {i-MaXd- 
fuov). The nuptial song, sung in 
chorus by a company of young 
girls outside the door of the bridal 
chamber. Quint, ix. 3. 16. Theocr. 
Id. 18. 

EPITOXTS. (Vitruv. x. 10. 4.) 
A particular part of the catapulta, in 
which, as it is conjectured, the missile 
was placed. 

EPITY'RUM (twimpov). An eat- 
able composed of the flesh of the 
olive seasoned with oil, vinegar, 
rue, mint, &c. ( Cato, R.R. 119.); 
more common in Greece and Sicily, 
than in Italy. Varro, L. L. vii. 86. 
Columell. xii. 49. 9. 

EPIU'RUS {>-tovpoc). A wooden 
pin used as a nail (Lsidor. Orig. 
xix. 19. 7. Pallad. xii. 7. 15.); but 
the readings differ, some having epi- 
grus and tniKovpoc. 

EPULO'NES." The members of 
one of the four great religious corpo- 
rations at Rome, originally composed 
of three persons {triumviri epulones, 
Liv. xxxi. 4.), but afterwards in- 
creased to seven {septemviri epulones, 
Lucan. i. 602,) ; whose chief duty 
consisted in preparing a sumptuous 
banquet, termed Lectisternium, 
for Jupiter and the twelve gods, upon 
occasions of public rejoicing or ca- 
lamity (Festus, v.), when the 
statues of the deities were placed 
upon couches in front of tables (Val. 
Max. ii. 1. 2.), spread with delica- 



EQUARIUS. 



EQUES. 



263 



cies, which the Epulones afterwards 
consumed. 

EQUA'RIUS, sc. medicus ('nnria- 
Tpoc). A horse doctor, or veterinary 
surgeon. (Val. Max. ix. 15. 2.) The 
illustration represents a veterinary, 




and shows the ancient manner of 
bleeding horses, from a Roman bas- 
relief discovered in the south of 
France. 



2. Absolutely ; a groom or stable 
boy. (Solin. 43.) Same as Equiso. 

EQUES (lirirsvi). In a general 
sense, any one who sits upon a horse, 
a horseman or rider. (Mart. Ep. xii. 
14.) Both the Greeks and Romans 
rode without stirrups, and either 
upon the bare back (Varro, ap. Non. 
p. 108. Mercer), as in the annexed 
engraving, representing an Athenian 
youth, from the Panathenaic frieze 
(compare the illustrations s. Celes 




and. Decursio, which are Roman) ; 
or upon a saddle pad (ephippium), 
which is mostly covered and con- 
cealed by a piece of coloured cloth 
thrown over it (see the next and sub- 
sequent illustrations) ; but never 



upon a regular saddle made, like 
ours, upon a tree or frame, which 
was a late invention, towards the 
decline of the Empire. The women 
rode sideways, 
like our own, up- y£ 
on a pad, or lOvO ^St 

ephippium, as is l^lfff® 
proved by the /^T\^f? >Q 
expressions mulie- v^L^^^^ 
briter equitare, or Jj\T~—\ \ 
equo insidere (Am- 9\(\f \f\ 
mian. xxxi. 2. 6. u \ (> \ 
Compare Achill. ^ -'^ 
Tat. de Amor. Clitoph. et Leucip. 
Agathias iii.), which is represented in 
the bas-relief engraved by Cuper 
(Afon. Ant. Ined. p. 199.) and many 
imperial medals. The same fashion 
was also adopted sometimes by men, 
as shown by the annexed illustration, 
representing a Pompeian gentleman 
taking a country ride, from a land- 
scape painting in that city. 

2. A knight ; i.e., one of a body 
originally, as is supposed, appointed by 
Romulus, and consisting of three hun- 
dred men selected from the patrician 
families, who served on horseback, 
and were mounted at the public ex- 
pense, to act as a garde du corps for 
the king. Their numbers, however, 
were considerably increased at diffe- 
rent periods, and a property qualifi- 
cation, instead of birth, made essential 
for admission into the body, which 
thus constituted the cavalry branch 
of the old Roman armies, and formed 
a separate order in the state, distin- 
guished from the senatorial! by the 
outward badge of the Clavus An- 
GUSTUS, and from the commonalty 
by a gold ring on the finger. As 
this class had ceased to serve in a 
distinct military capacity before the 
termination of the republic, and the 
remaining monuments which delineate 
military scenes are all posterior to 
that period, we have no genuine re- 
presentation of a Roman knight of 
this description, beyond what is af- 
forded by the devices on some of the 
censorial coins, which are too small 



264 



EQUES. 



and imperfect to give minute or cha- 
racteristic details. They appear, how- 
ever, on these coins simply draped inthe 
tunic {tunica), and holding ahorse by 
the bridle before the censor, who sits in 
his curule chair; which accords so far 
with the account of Polybius (vi. 25.), 
who says that the old Roman cavalry 
had no body armour before their inter- 
course with the Greeks had taught 
them to adopt the same accoutrements 
as the horse soldiers of that country. 

3. A cavalry trooper ; who did not 
receive his horse from the state, but 
possessed sufficient means to mount 
himself, and so avoid the greater 




hardship of serving on foot. (Liv. 
v. 7. Id. xxxiii. 26. Cses., &c.) 
These troops received pay from the 
state, and eventually constituted the 
Roman cavalry, after the regular 
equestrians had ceased to do military 
duty. Soldiers of this class are fre- 
quently represented on the columns 
and triumphal arches of the Imperial 
period, similar to the figure annexed, 
from the Column of Antoninus, in a 
helmet, and with a cuirass of scale 
armour, a lance, small round shield, 
no stirrups, and pad saddle covered 
with housings. 

4. Eques legionarius. A legionary 
trooper ; evidently, as the epithet im- 
plies, distinct from the knights, and 
from ordinary cavalry, which was 
usually stationed on the wings, and 



very frequently furnished by the allies. 
The name leads naturally to the con- 
clusion that these men formed a body 
of heavy-armed cavalry, like the in- 
fantry of the legion ; and the annexed 
figure from the Column of Antoninus 




so far confirms the conjecture, as it 
shows that in that age at least there 
was a class of mounted Roman troops 
who wore cuirasses of exactly the same 
description as the legionary of the 
same period, as will be seen by com- 
paring the illustrations s. Legiona- 
rius and Lorica squamata, with 
the present figure, the lower portion 
of which is concealed in the original 
by the groups before it. Liv. xxxv. 
5. Veg. Mil. ii. 2. 

5. Eques prcetorianus. See Pre- 
rORIANI. 

6. Eques Sagittarius. A mounted 
archer : a class of troops mostly com- 
posed of foreign auxiliaries ; but also 
equipped by the Macedonians (Quint. 
Curt. v. 4.), and the Romans (Tac. 
Ann. ii. 16.), who sometimes armed 




their own citizens in that manner, at 
least under the Empire, as shown by 



EQUILE. 



EQUULEUS. 



the annexed example, which repre- 
sents a Roman soldier on the Column 
of Antoninus. 

7. Eqaes cataphractus. See Ca- 

TAPHRACTUS. 

8. E*ques alarius The allied ca- 
valry which accompanied the Roman 
legions, so termed because they were 
always stationed upon the wings. 
Liv. xl. 40. Cces. R. G. i. 51. 

9. Eques cxtraoi'dinarins. A 
trooper selected from the allied ca- 
valry, and formed into a picked body 
for the service of the consuls. Liv. 
xl. 31. and 27. Id. xxxiv. 37. 

10. A mounted gladiator, who 
fought like a cavalry soldier, on 




horseback (Inscript. ap. Orelli, 2569. 
2 577-) j two °f whom are shown in 
the annexed engraving, from a bas- 
relief on the tomb of Nsevoleia Ty- 
che at Pompeii. It will be perceived 
that their armour assimilates closely 
with the figure of the legionary 
trooper, No. 4. 

EQUI'LE (i7T7ro<TrafTu). A stable 
for horses. (Varro, R. R. ii. 7. 15. 
Suet. Col. 55.) The engraving re- 




presents an ancient stable on the bay 
of Centorbi in Sicily, probably the 



only genuine specimen cf such build- 
ings now remaining It is const meted 
of masonry, and vaulted at the top : 
is not divided into stalls, each animal 
being separated from his neighbour 
by a swinging bar, if necessary The 
manger, which recedes gradually in- 
wards from the top, is also of ma- 
sonry, and divided into a number of 
cribs ((pdTi M/.ctrn), a separate one for 
each horse, and not formed in one 
long line, common to all. The rope 
of the head stall passed through a 
small aperture in front of each crib, 
and was fastened by a block on the 
opposite side of the wall, which will be 
readily understood from the drawing and 
the horse introduced for that purpose. 

EQUI'SO. A groom who leads 
out horses to exercise. Varro, ap. 
Non. s. v. pp. 105. 450. Val. Max. 
vii. 3. Ext. 1. 2. 

2. Equiso nauticus. One who 
tows a boat up the stream by a rope. 
Varro, ap. Non. //. cc. 

EQUUL'EUS. Literally, a young 
horse, or colt ; whence transferred, 
in a special sense, to a wooden ma- 
chine upon which slaves were placed 
to extract evidence from them by 
torture. (Cic. Mil. 21. Quint. Curt, 
vi. 10.) The ancient writers have 
not left any description by which the 
exact nature of this contrivance can 
be ascertained ; 
and their artists 
never depicted 
scenes calculated 
to awaken painful 
emotions. But 
the expressions 
used to describe 
the treatment o# 
the sufferer — in 
equirfeo ; or in 
eqiadeam imposi- 
tus — lead to the 
conjecture that it 
was something in 
the nature of the 
crux, and the 
punishment a 
sort of impale- 




266 



EQUUS. 



ERG A S TULA RIUS. 



ment ; the criminal being made to 
sit bare on a sharp point, with heavy- 
weights attached to his arms and 
legs, in order to increase the natural 
pressure of the body, as shown by 
the annexed engraving, which repre- 
sents an instrument of punishment 
formerly used at Mirandola, in the 
north of Italy, and which, in confirma- 
tion of the suggestion, was called by 
the same name, the colt, U cavaletto. 

EQUUS. A stallion; properly 
distinguished from equa, a mare, and 
from canterius, a gelding. 

2 Eqicus p2iblicus. The horse al- 
lotted by the state to each of the old 
Roman knights {equites), for the per- 
formance of cavalry duty, which was 
purchased and kept at the public 
expense. Liv. v. 7. Cic. Phil. vi. 
5. Plin. H. N. xxxiii. 9. 

3. Equus curtus. A horse which 
had its tail dock- 
ed (Prop. iv. I. 
20.) ; not a com- 
mon practice 
amongst the an- 
cients. Horace 
applies the same 
epithet to a mule 
{Sat. i. 6. 104.), 
apparently in disparagement ; but a 
crop-tailed horse was offered annually 
as a sacrifice to Mars (Festus, s. Oc- 
tober equus) ; and possibly the small 
bronze cast, from which the annexed 
figure is copied, was intended to com- 
memorate that custom. 

4. Eqmis Trojamts. The Trojan 
horse, by means of which the Greek 
soldiery enclosed in its belly were 
enabled, according to the fable, to 
open the gates of T*oy to their com- 
rades, and thus captured the city. 
(Cic. Muren. 37. Hygin. Fab. 108.) 
Many ancient representations of this 
stratagem remain in painting, sculp- 
ture, and engraved gems, correspond- 
ing generally with the figure annexed, 
which is copied from a miniature in 
the Vatican Virgil, showing the plat- 
form and wheels by which it -was 
moved, the door which Sinon opens 




to let the inmates out, who descend 
to the ground by sliding down a 




rope, all as minutely detailed by 
Virgil, sEu. ii. 257 — 264. 

5. Equus bifies. A sea-horse; a 
monster composed of the fore-hand 
and two front legs of a horse, with 
the body ending in a fish's tail ; fa- 




bulously and poetically attached to 
the marine chariot of Neptune and 
Proteus. (Virg. Georg. iv. 389. 
Pervigil. Ven. 10.) The example is 
from a Pompeian painting. 

6. Equus jlitviatilis. The river 
horse, or hippopotamus. Plin. H. N. 
viii. 30. 

7. Equus ligneus. Poetically, for 
a ship. Plaut. Rud. i. 5. 10. 

8. A battering engine for beating 
down walls (Prop. iii. I. 25.) ; subse- 
quently, and better known by the 
name of the ram. (Plin. H. X. vii. 
57.) See Aries. 

ERGASTULA'RIUS. A person 
who had the charge of superintending 



ERGASTULUM. 

an ergastulum, and the slaves confined 
in it. He acted as gaoler and task- 
master, to see that their work was 
done, and was himself a slave, though 
placed in a confidential office. Co- 
lumell. i. 8. 17. 

ERGASTULUM. A sort of 
prison and place of correction at- 
tached to the farms and country villas 
of the Romans, in which those of the 
slave family who were kept in fetters 
(compediti, nexi, vincti) were lodged 
and made to work in irons ; whereas, 
the rest, who were not chained, were 
provided with separate accommodation 
{cellce, contitbernia) in other parts of 
the establishment (Columell. i. 6. 
3. Compare 8. 16. Apul. Apol p. 
482. Brut, ad Cic. Fam. xi. 13.) 
As Columella recommends that such 
places should be constructed under- 
ground, we may conclude that it was 
not the universal practice to do so. 

ERGASTULUS. A slave con- 
demned to the ergastulum. Lucil. 
Sat. xv. 8. ed. Geiiach. 

ER'GATA (kpyarrjc.) A capstan 
or windlass, for drawing up vessels on 
to the shore, and for moving heavy 
weights generally. Vitruv. x. 4. 

ERIC'IUS. Literally, a hedge- 
hog ; a name also given to a contri- 
vance for defending the gates of a 
camp or any fortified place, consisting 
of a long beam, studded with iron 
spikes, and planted across the opening 
that required defence. (Caes. B. C. iii. 
67. Sallust, Hist. ap. Non. p. 555.) 
The beam across the gateway repre- 
sented in the engraving s Catar- 
act a, 3., if furnished with spikes, 
would afford an example of the ericius. 

ES'SEDA or ES'SEDUM. An 
uncovered car or cart, upon two 
wheels, open in front, but closed be- 
hind, and drawn by two horses, com- 
monly used in warfare by the ancient 
Britons, Gauls, and Belgae. (Caes. 
B. G. iv. 33. Id. v. 16. Virg. Georg. 
iii. 204. Serv. ad. I.) The Romans 
also constructed carriages after the 
same model, which they employed for 
Ordinary purposes, and designated by 



EUSTYLOS. 267 

the same name (Cic. Att. vi. i. Ov. 
Pont. ii. 10. 34. Suet. Gal. 51.) ; but 
no representation either of the ori- 
ginal British car, or of the Roman 
imitation of it, is known to exist in 
any authentic monument. 

ESSEDA'RIUS. A British, 
Gaulish, and Belgic warrior, who 
drove and fought from a war car 
(essedum) in the manner described 
by Caesar (B. G. iv. 33.). Cic. 
Fain. vii. 6. 

2. A captive from either of the 
above nations, who was made to ex- 
hibit his national mode of fighting, 
from the essedum, as a gladiator in 
the Roman amphitheatre. Suet. Cal. 
35. Claud. 21. 

EURFPUS (tvpiTroc.) Any artifi- 
cial canal, or water course, of greater 
or lesser extent, such as were made 
to ornament a villa (Cic. Leg. ii. 1. 
Seneca, Ep. 83.) ; to afford a body of 
water for the display of amphibious 
or aquatic animals from foreign parts 
as a spectacle (Plin. viii. 40.) ; and 
especially, a moat filled with water 
constructed by Julius Caesar round 
the interior of the Circus Maximus 
(Suet. Ccfs. 39. Plin. N.N. viii. 7.). 
in order to protect the spectator from 
the sudden irruption of any animal, 
when hunts and shows of wild beasts 
were exhibited in it. This was 
afterwards filled up by Nero (Plin. 
/. c. ) ; and the name of euripus trans- 
ferred, at a subsequent age, to the 
barrier {spina) which ran down the 
centre of the course. Tertul. adv. 
Hermog. 31. Sidon. Carm. xxiii. 356. 

EUSTYLOS {tvorvXoc). A co- 
lonnade in which the intervals be- 
tween the columns have the width of 
two diameters and a quarter ; the style 
considered to be the most perfect in re- 
spect of solidity of #-1-^ 
structure, beauty of _ 
appearance, and 
general conveni- #- 2 v-# 
ence. (Vitruv. iii. #— s — -# 

2. I.) Theannexed ^—4 ^ 

diagram shows the 

five" different kinds of intercolum- 



268 EVERRICUL UM. 



EXCALCEA TUS. 



niation used by the ancients, with 
their relative intervals, amongst which 
the eustyle occupies the third line. 

EVERRIC'ULUM. The ordinary 
fishing-net (Varro, R. R. iii. 17. 7. 
Apul. ApoL p. 157. Non. s. v. p. j 
34) ; which as represented in the 
annexed wood-cut, from a fresco 





painting in the palace of Titus at 
Rome, appears to have been very 
similar to those used by the fisher- 
men of our own days. 

EVOCA'TL Veterans who had 
served their time, but enlisted again 
as volunteers. They were not sub- 
ject to the common military duties of 
the gregarian 
or legionary 
soldier, but 
seem to have 
held a supe- 
rior rank, and 
to have acted 
in the capa- 
city of centu- 
rions, whose 
costume and 
badges of dis- 
tinction they 
enjoyed ; being represented on se- 
pulchral monuments with the vine- 
rod (vitis) in one hand, a sword on 
the left side {parazonium), and a roll 
of paper, indicating, perhaps, their 
carte of discharge, in the other ; as 
shown by the annexed figure, from a 
sepulchral marble, which also bears 
the inscription Aur . Julianus . 
Evok. Cic. Earn, iii. 6. Cees. B, G. 
vii. 65. B. C. i. 17. 

2. The same title was subsequently 
conferred upon a body of young men 
selected from the equestrian families, 
and formed into a corps, by the Em- j 



peror Galba, to which the duty of 
keeping guard at the doors of the 
imperial bed-chamber was entrusted. 
Suet. Galb. 10. 

EXACISCULA'TUS. Dilapi- 
dated, destroyed, or pulled out with a 
' ' pick " (acisculus) ; a common way 
of breaking into tombs, for the pur- 
pose of stealing the valuables depo- 
sited in them. Hence, the word is 
of frequent occurrence on sepulchral 
inscriptions, in the form of a caution 
to the public against the commission 
of such an offence. Inscrip. ap. Mur. 
1028. 2. ap. Don. cl. 12. n. 27. 

EXA'MEN. The tongue on the 
beam of a balance, rising perpendi- 
cularly from the beam, and oscillating 
within an eye affixed to the same, by 
which it serves to point out the 
equality or inequality of weight be- 
tween the objects in the scale. (Virg. 
jEn. xii. 725. Pers. Sat. i. 6.) The 
illustration represents a scale beam 




furnished with such a tongue and 
eye, from an original of bronze pre- 
served amongst the Roman antiqui- 
ties in the British Museum. 

EXASCIA'TUS. Hewn out of 
the rough and into shape, with a 
carpenter's adze {ascia) ; and as this 
was the first operation before finish- 
ing and polishing with other and 
finer tools, the expression opus exas- 
ciatum implies a work already some- 
what advanced ; i. e., in which all the 
preliminaries have been successfully 
got through. Plaut. As. ii. 2. 93. 

EXCALCEATUS. Literally, 
without shoes icalcei, Suet. Vesp. 
7.) ; thence, in a special sense, a 
comic actor (Seneca, Ep. 8.), as con- 
tradistinguished from a tragic one 
(cothumatus), who wore upon the 
stage a close boot, which enveloped 
the whole foot ; whereas the chaus- 



EXCUBITORES. 



EXOMIS. 269 



sure of the comedian was not a close 
shoe or regular calceus. but a mere 




sole bound on with leather straps, 
which left the toes and great part of 
the foot exposed, as shown by the 
annexed figure, from a bas-relief re- 
presenting a comic scene. 

EXCUBITO'RES. Sentries and 
watchmen, including those who per- 
formed military as well as civil 
duties (Caes. B. G. vii. 69. Columell. 
vii. 12.), and who kept watch by 
'light or day {excubice) • in which 
respect they are distinguished from 
Vigiles, a name given only to night 
watches. 

2. Under the Empire, the same 
term was specially applied to a 
body of soldiers belonging to the 
imperial cohort, to whom the duty of 
guarding the emperor's palace was 
entrusted. Suet. Nero, 8. Compare 
Otho, 6. 

EXCUBITO'RTUM. The post 
where a corps de garde is stationed ; 
of these there were fourteen in Rome 
itself, one for each of the regions 
into which that city was divided. 
P. Victor, de Reg. Urb. Rom. 

EXCU'SOR (xn\Kfv^). A copper- 
smith (Quint, ii. 21. 10.) ; but the 
reading is not certain. 

EXED'RA (t&Spu). An assem- 
bly room, or hall of conversation ; a 
large and handsome apartment, some- 
times covered in (Vitruv. vi. 3. 8.), 
and sometimes open to the sun and 
air (Vitruv. vii. 9. 2.), constituting 



one of the dependencies to a gymna- 
sium, or to a private mansion of the 
first class. It was, in reality, a place 
fitted up for the reception of a party 
of savans to meet and converse in 
(Vitruv. v. 9. 2. Cic. N. D. i. 6.), as 
the philosophers were accustomed to 
do in the Greek Gymnasium and the 
Roman Thermae. For this purpose, 
it was frequently constructed with a 
circular absis (Plut. Alcib. 17.), in 
which rows of seats were arranged 
for the company ; and, .in fact, is so 
delineated in a bas-relief of the Villa 
Albani (Wink. Mon. ined. 185.), 
representing a scientific discussion 
between several philosophers. Con- 
sequently, in our ground-plan de- 
scribing the ruins of the Gymnasium 
at Ephesus {s.v.), the name of exedra 
is assigned to each of the two divi- 
sions at the bottom of the lateral 
corridors, which terminate with a 
similar absis. 

EXED'RIUM (itiSpiov). Dimin- 
utive of Exedra. Cic. Fam. vii. 23. 
EXEQ'UI^E. See Exsequle. 
EXO'MIS (tSw/i/c). A particular 
kind of Greek tunic, afterwards 
adopted by the 
Romans, with- 
out sleeves, ve- 
ry short {sub- 
stricta), and 
entirely open 
down the right 
side, so that, 
when put on, 
the right shoul- 
der ((L/jloc), as 
well as the 
arm and breast, 
were left ex- 
posed. (Aul. 
Gell. vii. 12. I.) It was the usual 
dress of persons employed in active 
and laborious occupations, such as 
slaves, rustics, artizans, and hunts- 
men ; hence, in works of art, it is 
frequently worn by Vulcan, Charon, 
Daedalus, and Amazons, all of whom 
pursued a life of toil or industry, and 
in a similar form to that on the an- 




270 



EXOSTRA. 



EXS EQUINE. 




nexed figure, representing a slave in 
attendance on a hunting party, from 
a Roman bas-relief. 

2. The same term was also applied 
to the pallhlm (7rtf)t/3\i]fia, Jull. Poll, 
vii. 48.), when 
it was arranged 
upon the per- 
son in such a 
manner as to 
present a simi- 
lar appearance 
to that of the 
tunic last de- 
scribed ; cover- 
ing only the 
left shoulder, 
but leaving the 
right one with 
the arm and breast exposed, as ex- 
hibited by the annexed figure from 
the Vatican Virgil. 

EXO'STRA {i&iarpa). A 
wooden bridge or platform projected 
from a movable tower to the walls of 
a besieged town, over which the as- 
sailants passed on to the ramparts. 
Veg. Mil. iv. 21. and 17. 

2. A machine employed upon the 
stage of the ancient theatres, for the 
purpose of revealing to the spectators 
the results of certain actions which 
could not be perpetrated before their 
eyes, such, for instance, as a murder, 
or any other atrocity which might 
wound their moral or religious feel- 
ings. The precise character of the 
machine, and the m aimer in which it 
was made to operate, is not tho- 
roughly ascertained ; further than the 
fact, that it was pushed forward from 
behind the scenes, and made to turn 
round by springs and wheels, so as to 
expose to the object required ; 

a dead body, for example, indicative 
of a murder or a suicide. Cic. Prov. 
Cons. 6. Jul. Pollux, iv. 128, 120. 

EXPAPILLA'TUS. Literally, 
having one breast exposed ; an ex- 
pression intended to describe the 
appearance of a person who wears 
his tunica or pallium adjusted in the 
manner explained and illustrated un- 




der the article Exomis. Plaut. Mil. 
iv. 4. 44. N011. s. v. p. 103. 

EXPEDITE Literally, free and 
unencumbered ; whence applied, 
in military lan- 
guage, as a de- 
scriptive name 
for the light- 
armed troops hi 
general {velites, 
Festus, s. Adve- 
litatio) ; or to the 
heavy-armed le- 
gionaries (Sisenn. 
ap. Non. s.v. p. 
58. Cic. Alt. viii. 
9.), when equip- 
ped for a rapid march ; i. e., when 
the more cumbrous parts of their 
accoutrements and luggage {impedi- 
menta) were transported in carts, and 
their offensive and defensive arms 
disposed about the person in the way 
most convenient for rapidity of transit. 
The annexed figure, representing one 
of the legionary soldiers in the army 
of Trajan in a hurried line of march, 
compared with the illustration to Im- 
PED1TUS, will afford a precise notion 
of the meaning conveyed by the term. 

EXSEQ'UIyE. A funeral, or fu- 
neral procession and solemnities. 
(Tac. Hist. iv. 62. Cic. Mil. 13. Id. 
Quint. 15. Suet. Tib. 32.) The 
poorer classes of the Romans were 
buried at night, and without any 
kind of show; but wealthy persons 
were carried to their final home with 
much pomp and ceremony, accom- 
panied by a long procession of rela- 
tives, friends, and dependants, ar- 
ranged by an undertaker {designator), 
and in the following order. First 
came a band of musicians playing 
upon the long funeral pipe {tibia 
longa) ; and immediately behind 
them, a number of women hired to 
act as mourners {prcefica:), chanting 
dirges, tearing their hair, and singing 
the praises of the deceased. Then 
followed the slaughter-man {victi- 
marius) ; whose business it was to kill 
the favourite animals of their deceased 



EXTISPEX. 



FABRIC A. 



master, horses, dogs, &c, round the 
funeral pile. Next came the corpse 
upon a rich bier (capuhun, feretrum, 
lectica funebris), immediately pre- 
ceded by persons who carried the 
busts or images of his ancestors (ima- 
gines), as well as any public presents, 
such as coronce, phalercs, torques, which 
he might have possessed, and by a 
buffoon iarchimimus), dressed up to 
imitate the person and deportment of 
the deceased. After the bier, fol- 
lowed a long line of slaves and at- 
tendants, leading the animals intended 
to be sacrificed at the burning of the 
body, and finally the whole proces- 
sion was closed by the empty car- 
riage of the dead ms.n, which brought 
up the rear in the same way as is still 
customary amongst ourselves. All, 
or nearly all, of these particulars are 
exhibited in the order above stated 
upon a bas-relief, on a Roman sarco- 
phagus, representing the funeral of 
Meleager ; a device which would be 
appropriately selected for a person 
who during his life -time had been 
addicted to the chase and sports of 
the field. It is engraved by Bartoli 
(Admirand. Ro??i. plates 70. and 71.), 
and several figures have been selected 
from it to illustrate the different 
words bracketed in this article ; but 
the entire subject contains too many 
figures to bear a reduction propor- 
tionable to the size of these pages. 




EX'TISPEX(>/7mroffK67rot - ,(r7r\ayYf 
voaKowov). A soothsayer, or divi- 



ner, who affected to interpret the will 
of the gods, and the results of futu- 
rity, by inspecting the entrails of 
victims slain at the altar (Cic. Div. 
ii. 18.), as shown by the annexed 
illustration, from a bas-relief of the 
Villa Borghese, the only ancient re- 
presentation of this practice yet dis- 
covered. 

EXTISPIC'IUM (hTVClTOOKOTTia). 

An inspection of the entrails of ani- 
mals for the purpose of predicting 
events from L their appearances ; as 
represented in the preceding engrav- 
ing. Accius, ap. Non. p. 16. Suet. 
Nero, 56. 

F. 

FABATA'RIUM. A large bowl 
or dish in which beans, or bean-flour, 
made into a stir-about (ptils fabacia, 
Macrob. Sat. i. 12.) was served up. 
Lamprid. Heliog. 20. 

FABER (tUtuiv). The name 
given indiscriminately to any artizan 
or mechanic who works in hard 
materials, such as wood, stone, metal, 
&c, in contradistinction to one who 
moulds or models in soft substances, 
like wax or clay, who received the 
appellation of plastes. It is, conse- 
quently, accompanied in most cases 
by a descriptive epithet which deter- 
mines the calling of the workman 
alluded to ; as fader tignarhcs, a car- 
penter (see the next illustration) ; 
fader ferrarius, a blacksmith (see the 
illustration s. Ferrarius) ; faber 
ceris, marmoiis, eboris, a worker in 
bronze, marble, and ivory ; and so 
on. The Greek term has not quite 
so extensive a meaning as the Latin 
one, being rarely applied to a worker 
in metal, who was expressly called 
Xa\xtvQ or aiStiptvc, though some pas- 
sages occur where it is so used. 

FAB'RICA. In general, the 
workshop of any mechanic who 
works in hard materials, but especi- 
ally in wood ; as the shop of a car- 
penter, or a cabinet-maker. (Terent. 
Ad. iv. 2. 45. Lucret. iv. 515.) The 



27 2 FAB R ILIA. 



FALCASTRUM. 



illustration represents a carpenter's 
shop, from a painting found at Her- 
culaneum, in which the workmen 
are represented under the form of 




genii, pursuant, to the usual treatment 
of the ancient schools, for subjects of 
this nature, in which scenes of ordi- 
nary life are depicted. 

FABRI'LIA. Mechanics' tools; 
a general term under which is in- 
cluded all the different kind of tools, 
implements, and instruments em- 
ployed by carpenters, smiths, and 
other artizans who work in marble, 
stone, ivory, or other hard materials. 
Hor. Ep. ii. i. 116. 

FACTOR. A term used at the 
game of ball, which went by the 
name of datatim ludere, or catch-ball ; 
and given to the player who threw 
the ball upon receiving it from the 
da-tor. Plaut. Cure. ii. 3. 18. 

FACTO'RIUM, sc. vas. A re- 
ceiving vessel which held the exact 
quantity of olives proper to be put 
under the press at one making {fac- 
tum). Pallad. xi. 10. 1. Compare 
Cato, R.R. 67. 1. and Varro, R. R. 
i. 24. 3. 

FAC'ULA. Diminutive of Fax. 
A small or common kind of torch ; 
also, a strip or lath of resinous wood, 
out of which torches were made, by 
tying them up into bundles. Cato, 

R.R. 37- 3- 

FALA. A wooden tower of se- 
veral stories high, employed in 
sieges, but the characteristic proper- 
ties of which are unknown. Festus, 
s. v. Ennius ap. Non. s. v. p. 114. 

2. A wooden tower of similar 
nature, erected occasionally in the 
circus, upon the vacant part of the 
arena, between the barrier {spina) 



and circumference {euripus), when 
the military spectacle of a sham fight 
{decursio) was to be exhibited. Juv. 
vi. 589. Non. /. c. Serv. ad. Virg. 
ALn. ix. 705. 

FALA' RICA. A peculiar kind 
of spear intended to be discharged as 
a missile from the hand, and em- 
ployed in warfare as well as the 
chase. (Virg. AZn. ix. 705. Liv. 
xxxiv. 14. Grat. Cyneg. 342.) It is 
described as a missile of the largest 
dimensions (Non. s.v. p. 555.) ; with 
an immense iron head, and strong 
wooden shaft, weighted near the top 
by a circular mass of lead (Isidor. 
Urig. xviii. 7. 8.), exactly as repre- 
sented by the annexed figure, from 
an ancient monument published by 
Alstorp {de Hastis Veterum, p. 1 58. ). 
Another specimen of very similar 




character is exhibited on a sepulchra 
marble discovered at Aquileia, pub- 
lished by Bertoli {Antic Jiita di Aqui- 
kja, p. 153.). 

2. A missile invented by the peo- 
ple of Saguntum, similar in many 
respects to the preceding, but of a 
still more formidable description. It 
was chiefly employed in sieges, and 
discharged with prodigious violence, 
by the assistance of machinery (Lu- 
can. vi. 198 ), from the lofty wooden 
towers called falce, which also sug- 
gested a motive for its name. (Fes- 
tus, s.v.) It is described by Liv.. 
(xxi. 8.) and Vegetius {Mil. iv. 18.), 
who give it a character very similar 
to the preceding specimen, with the 
exception that the iron just under the 
head was enveloped in tow steeped in 
pitch or other inflammable materials, 
which was ignited before the weapon 
was discharged. 

FALCA'RIUS. A maker of 
scythes and sickles {/alecs). Cic. 
Cat. i. 4. Id. Sull. 18. 

FALCAS'TRUM. An instrument 
employed in husbandry for clearing 
away any thick overgrowth of weeds 



FALCA TUS. 



FALX. 



27 



and bushes ; consisting of the blade 
of a sickle {falx) affixed to a long 
straight handle (Isidor. brig. xx. 14. 
5.), similar to what is still used for 
the same object amongst ourselves, 
It was probably only a provincial 
term in -use amongst the labouring 
population ; for educated people and 
the agricultural writers used R.UNCO. 

FALCA'TUS {dfjsTrai^ofwg). 
Furnished with scythes ; as, eurrus 
falcatus (see Currus, 5.) : or, like 
a sickle ; as, ensis Jalcatus. See 
Falx, 6. 

FALCIC'ULA. Diminutive of 
Falx. Pallad. i. 43. 3. 

FAL'CIFER. Bearing a scythe 
or a sickle ; both of which imple- 
ments were emblematically ascribed by 
poets and artists to old Saturnus, in 
allusion to 
his having 
first intro- 
duced agri- 
culture into 
Italy, or to 
his mythical 
character, as 
the personi- 
fication of Time {Cronos, Kpni-uc), 
the destroyer of all things. (Ovid, 
lb. 216. Macrob. Sat. i. 7. and 8.) 
The latter quality, as of less common 
occurrence, is selected for the illus- 
tration, from a medal struck in honour 
of Heliogabalus. 

FALCIGER. Same as Falci- 
FER. Auson. Eel. de Fer. Rom. 36. 

FAL'CULA (dptTrdi>ioi>). Dimi- 
nutive of Falx. Cato, R. R. xi. 4. 
Columell. xii. 18. 2. 

FALE'RE. An architectural 
term employed by Varro (R. R. in. 
5. 14. and 16.), of doubtful signifi- 
cation, but conjectured to mean a low 
wall of masonry constructed as an 
artificial embankment round the 
margin of a pool of water. 

FALX (SptTravr], Spi-navov, apm]). 
In a general sense, an instrument for 
cutting, with a curved blade and 
single edge ; but made in various 
forms, as best adapted for the pur- 




poses to which it was applied, each 
of which was consequently distin- 
guished by a characteristic epithet 
denoting the particular kind in view 
as : — 

I. Fcenaria and Vcruculata. A 
scythe for mowing grass (Cato, R. R. 
x. 3. Pallad. i. 43. 1. Columell. ii. 



21. 3), always represented in ancient 
works of art with a long and straight 
handle, as in the annexed example, 
which is Egyptian ; but the specimen 
in the preceding cut, and other in- 
stances on gems and coins, all present 
a similar figure. 

2. Stramentai ia and Messoria. A 
sickle for reaping corn. (Cato, R. R. 
x. 3. Pallad. i. 
43- 1.) The 
illustration re- 
presents an ori- 
ginal discovered, 
amongst various 
otheragricukural 
implements, in 
the city of Pompeii. 

3. Denticulata. {apin\ Kap\apodoc). 

A toothed sickle, employed, instead of 

the common one, 

for reaping in some 

parts of ancient 

Italy, Greece, and 

Egypt. (Columell. 

ii. 21. 3.) The 

blade, which had 

its edge notched 

like a saw, was attached to the end 
of a short stick slightly bent in the 
back (Varro, R. R. 50. 2.) ; and, 
when in use, was held with the point 
upwards, in the position shown by 
our example, from an Egyptian paint- 
ing, so that the reaper worked 
upwards, cutting the stalk a little 
below the ear (Job xxiv. 24. "cut 
off the tops of the ears of corn."). 

S 





274 



FA LA' 



The 



The different modes of handling the 
toothed and the common sickle may 
be seen in two paintings from the 
tombs at Thebes, engraved by Wil- 
kinson (Manners and Customs of the 
Egyptians, vol. iv. pp, 89. 98.). 

4. Arboraria and Sihuatica. 
common hedge-bill, or bill-hook 
(Cato, R. R. x. 3. Id. xi. 4), em- 
ployed by wood-men, hedgers, 
and labourers of that kind ; and 
similar in every respect to the 
instrument used by the same 
class of persons in our own day, V; 
as shown by the example, from an 
original found at Pompeii. 

5. Vinitoria, Vineatica, and Puta- 
toria. The vine dresser s pruning- 
hook (Cato, R. R. xi. 4. 
Pallacl. i. 43. 1. Columell. 
iv. 25. I.) ; which was a 
complicated sort of instru- 
ment, furnished with a 
variety of different edges, 
in order to adapt it for the 
many nice operations re- 
quired in the pruning of 
vines. Each of these parts 
bore an appropriate name, 
which will be readily understood by 
referring to the annexed engraving, 
representing one of these instruments 
from the MSS. of Columella. The 
straight edge immediately above the 
handle was termed cutter, the coulter ; 
the curved one beyond, sinus, the 
bend or hollow; the edge between the 
hollow and the point, scalprum, the 
knife ; the hook itself, rostrum, the 
beak ; the projecting spike beyond. 
mucro, the point ; and the lunated 
edge at the back, securis, the axe. 

6. (pa/jKpii). A falchion (Cic. Mil. 
33. Stat. Ach. if. 419. Polyb. x. 18. 
28) ; which has the upper extremity 
of its blade very much curved, so as 
in some respects to resemble a 
sickle ; whence it is also expressly 
designated ensis falcalus (Ovid, Met. 
(. 718. ib. iv. 726.), or hamatus. 
lid. Met. v. 80.) A weapon of this 
form is frequently assigned by poets 
and artists to Mercury and Perseus, 



(T 




with 




and is represented in the an- 
nexed engraving, from a terra- 
cotta lamp (Barioli, Lucerne, 
iii. 13. Compare Wink. Mon. 
Ant. hied. 84.), where it 
appears in the hand of a 
young warrior designed in the 
heroic style, with shield, 
helmet, and mantle of skin. 

7. Supina. The knife 
curved edge, 
and pointed 
blade, em- 
ployed by 
the class of 
g 1 adiators 
called Th ra- 
cian s ( Thra- 
ces), which 
received its 
designation 
from the 
manner in 
which it was 
h andled ; 
being held 
rather down, and. 
its back {supina, 
201); i.e., with the edge upper- 
most, so that the thrust was made 
at the bottom of the belly, and the 
wound carried in a ripping direction 
upwards, precisely as the modem 
Italians now use their knives, and, as 
indicated by the annexed engraving, 
representing one of the above-named 
gladiators, on a terra-cotta lamp. 

8. Muralis (copvSpk7r«voi-). An 
instrument employed in warfare, both 
naval and military, for cutting away 
the masts and rigging of an enemy's 
vessel, clearing the battlements of 
their defenders, or tearing down the 
stones and stockades which formed a 
bulwark. (Cses. B. G. iii. 14. Stra- 
bo, iv. 4. I. Liv. xxxviii. 5. Caes. 
B . G. vii. 86.) This may be readily 
imagined, with a massive iron head, 
in the shape of a sickle, affixed to 
the end of a strong pole or beam, 
which could be worked by the hand 
or machinery, so as to mow, cut, or 
pull out, in the manner desciibed. 



as it were, on 
Juv. Sat. viii. 



FA NUM. 



FASCIA. 



2 75 



9. Poetically used for Dolabra 
(Prop. iv. 2. 59.) ; an instrument 
which lias one of its sides made in a 
curved form, approximating to the 
shape of a sickle. 

FANUM. A place which had 
been consecrated, by the solemn for- 
mula of the augurs (effatum) to some 
deity (Varro, L. L. vi. 54. Liv. x. 
37. Cic. Div. 1. 41.) ; and, as a 
sacred edifice was generally raised 
and dedicated upon such places, the 
same term also signified the edifice 
or temple, with the consecrated pre- 
cinct surrounding it. 

FARCI'MEN. Stuffing; made 
of minced ingredients inclosed in the 
inside of any eatable. Varro, L.L. 
v. in. Isidor. Orig. xx. 2. 28. 

FARRA'GO. A particular kind 
of green crop, consisting of grain, 
barley, tares, and leguminous plants 
sown together broad-cast, and cut 
while green, as fodder for cattle, 
during the latter end of winter and 
commencement of spring ; whence 
the term was metaphorically used to 
signify a confused jumble of things. 
(Varro. R.R. i. 31. 5. Columell. ii. 
11. 8. Plin. xviii. 41. Nemes. Cy- 
neg. 283). 

FARRA'RIUM. A barn for 
storing the grain called far, or spelt. 
Vitruv. vi. 9. 5. 

FAR'REUM. A cake made of 
far or spelt. Plin. H. N. xviii. 3. 

FARTOR {oit€vt>k). A slave 
whose especial business it was to 
fatten poultry for the table ; or one 
who kept and sold fatted poultry. 
(Columell. viii. 7. 1. Inscript. ap. 
Grut. 580. 15.) In the following 
passages, Plaut. True. i. 2. 1 1. Ter. 
Eun. ii. 2. 26. Hor. Sat. ii. 3. 229, 
the word is commonly supposed to 
mean a maker of sausages, or of 
pastry filled inside with sweetmeats ; 
but there is no reason for the distinc- 
tion, and the pi-esence of a poulterer 
would be equally accordant with the 
context in all of them. Becker, 
'Callus, p. 138. Transl. 

FARTU'RA. The cramming:, 



or fattening of poultry (Columell. 
viii. 7. 4.) ; whence the term was 
adopted by builders to designate the 
mass of rubble employed for filling 
up the internal part of a wall between 
the outside surfaces, when the wall 





was not constructed of solid masonry 
or brickwork (Vitruv. ii. 8. 7.), as 
shown by the annexed specimen of 
Roman building. 

FAS'CIA. In a general sense, any 
long narrow strip of cloth employed 
as a bandage ; such, for in- 
stance, as the swaddling- 
band (<j7rdpyavoi>) in which 
the ancients were accus- 
tomed to envelope the bo- 
dies of newly-born children 
(Plaut. True. v. 13. Com- 
pare Amphtr. v. t. 52.' 
It consisted of a long and 
narrow cloth-band twined, 
like a mummy-cloth, completely round 
the body from head to foot, so as to 
leave nothing but the face uncovered, 
as is plainly shown by the annexed en- 
graving, representing an infant which 
is held in the arms of a tragic actress, 
in a Pompeian painting, and re- 
sembling in every respect the man- 
ner in which an Italian peasant 
woman swaddles her offspring at the 
present day. 

2. A band worn round the head 
as an emblem of royalty (Seneca. 
Ep. 80.) ; more specially termed 
Diadem a. 

3. {JnvoZtapo^). A bandage fast- 
ened round the chests of young girls, 
in order to restrain the growth of the 
bosom by its pressure (Mart. Ep. 
xiv. 134. Ov. A. Am. iii. 247. Prop, 
iv. 9. 49.) ; a subdued breast being 
considered essential to grace and 
beauty in the young female figure. 
It was worn next to the skin, as 
shown by the two examples here 



276 



FASCIA. 



annexed. The front view is copied 




from a bronze statuette (Caylus, vi. 
71.), and the back one from a Pom- 
peian painting, in which it is coloured 
red. But it is not to be considered 
as a part of the ordinary dress, nor 
of universal use, either in Greece or 
Italy ; being only applied where the 
person inclined to excessive deve- 
lopment, or by mothers over anxious 
to promote the personal attractions of 
their daughters. Ter. Fun. ii. 3,. 21. 

4. A bandage fastened round the 
leg from the knee to the ankle {cms, 
Quint, xi. 3, 144. Val. Max. vi. 2. 
7. whence termed cruralis, Ulp. Dig. 
34. 2. 25.), like the annexed exam- 
ple, from a consular diptych. It 
was not worn as an ordinary part of 
the national costume ; but only upon 
certain occasions, or by particular 
individuals ; as a legging for persons 
in delicate health (Quint. /. c), or 
whose occupations made it necessary 
that the skin and leg should be well 




protected by some defence which 
would not impede agility of move- 
ment, like the drivers in the CircUs, 
of which an example is afforded by 
the engraving ; or those who followed 
the active and perilous sports of the 
field (Grat. Cyneg. 338. Pet. Sat. 
405.), of which an instance occurs in 
the Vatican Virgil, where /Eneas, 
when equipped for a hunting excur- 



sion with thequeen of Carthage, hashis 
legs protected by bandages exactly like 
those of the charioteer here introduced. 

5. {ttoOhoi', or 7r688io) ). A sock or 
stocking (Cic. Frag. ap. Non. s. 
Calantica. Lamprid. Alex. Sev. 40.), 
which entirely enveloped the foot, 
and was worn with shoes (Cic. Att. 
ii. 3. Varro. ap. Non. s. Ephippium, 
p. 108.), and more particularly by 
women. (Cic. Fragm. I. c.) It ap- 
pears on the legs of several female 
figures amongst the Pompeian paint- 
ings, one of which is represented by 
the annexed engraving. It will 




not fail to be observed that the ma- 
terial is evidently elastic, since it fits 
tight to the leg, but does not lace 
in front ; that it has no sole, and is 
fastened by a sort of band or garter 
at the top, thus intimately resembling 
the hose of a Scotch highlander, 
whose costume, in more respects than 
one, betokens a very early original ; 
and if the sock of the ancients, as. is 
not improbable, was ornamented by a 
checked pattern, like the Scotch one, 
which imitates the interlacing of a 
bandage, it would explain why it was 
called fascia pedulis (Ulp. Dig. 34. 
2. 25.), which assuredly means "a 
sock," for the same term pcdule 
is retained in the modern Italian 
language to desiguate the foot part of 
a stocking. 

6. {icupia, Poll. x. 36.) A band of 
coarse and strong cloth, forming what 
is now called the sacking or ticking, 
which supports the mattress of a couch 



FAS1CULUS. 



FASCIS. 



277 



or bed. (Cic. Div. ii. 65.) Several of 
these bands were stretched across the 
framework, and interlaced with cords 
(restcs) to strain them tight, in the same 
manner as still practised. This is 
clearly to be inferred from Mart. 
Ep. v. 62. 

7. An imaginary circle in the 
heavens ; also called ClRCULUS and 
Zona; which see. Mart. Capell. vi. 196. 

8. A dark belt of clouds forming 
round the horizon, indicative of bad 
weather. Juv. Sat. xiv. 294. 

9. In architecture ; the fascia, or 
facia, as it is now called, is a member 
produced by dividing an even surface 
into separate parts, which thus possess 
an appearance of long flat bands 
lying parallel to each other. They 
are frequently introduced in archi- 




nnnminn 

traves, more especially of the Ionic, 
Corinthian, and Composite orders, 
which are divided into two or three 
of these bands, as in the annexed ex- 
ample, from the temple of Bacchus at 
Teos, thence termed respectively the 
first, second, and third fascia, begin- 
ning from the lowest. Vitruv.iii. 5. 10. 

FASCICULUS. Diminutive of 
Fascia. A small quantity of any 
thing tied up into a 
roll or fascine ; as a 
nosegay (Cic. Tusc. 
iii. 18.) ; a bundle of 
flax (Plin. //. N. xix. 
3.) ; or of books (Hor. 
Ep. i. 13. 13.), which 
last are shown by the 
engraving, as they were 
library at Herculaneum. 




found 



FASCI'NA. Same as Fascis, 1. 
Cato, R. R. xxxvii. 5. 

FAS'CIOLA. Diminutive of 
Fascia. A small bandage, or one 
made of fine materials, for infants 
(Vopisc. Aurel. 4.) ; the head (Varro, 
L. L. v. 130.) ; feet and legs (Cic. 
Har. Resp. 21. Hor. Sat. ii. 3. 255.) ; 
as explained in the article Fascia. 

FASCIS (<pdictXo(: and (paKtWot;). 
Accurately, a packet of things, but 
more especially wood (Hirt. B. G. 
viii. 15. Tac. Ann. xiii. 35.), wattled 
together, and made up into a faggot or 
fascine, for the convenience of car- 
riage ; as in the illustration, from a 
sepulchral painting of the Christian 
era ; and contradistinguished from 




Sarcina, which is applied to such 
things as are wrapped up into a pack 
or bundle. 

2. In the plural. Fasces (ai pdff- 
Soi). The fasces carried by the 
lictors before certain of the Roman 
magistrates ; with which malefactors 
were beaten before execu- gnm 
tion. They consisted of a 
number of rods cut from 
the birch (Plin. H. N. xvi. 
30.), or elm tree (Plaut. 
Asin. iii. 2. 29.), wattled 
together, and bound round 
with thongs into the form 
of a fascine. During the 
reign of the kings, and 
under the first years of 
the republic, an axe (secu- 
ris) was likewise inserted 
amongst the rods ; but after 
the consulate of Publicola, 
no magistrate, except a dictator (Liv. 
ii. 18.), was permitted to use the 



278 FASCIS. 

fasces with an axe in the city of 
Rome {Cic.de Rep. ii. 31. Val. Max. 
iv. 1. I.) f the employment of both 
together being restricted to the con- 
suls at the head of their armies (Liv. 
xxiv. 9.), and to the quaestors in their 
provinces. (Cic. Plane. 41.) The il- 
lustration affords an example of the 
fasces as they appeared with the axe 
inserted, from a bas-relief of the 
Mattei palace at Rome. 

3. Fasces prceferre and submittere. 
The lictor walked before the ma- 
gistrate to whose service he was 
attached with a rod {virga) in his 
right hand, and the fasces on his 
left shoulder, as shown by the an- 
nexed figure, from a bas-relief in 




the Museum of Verona. This is ex- 
pressed by the phrase fasces prce- 
ferre ; but if a magistrate of inferior 
rank met a superior, the lictor re- 
moved the fasces from his shoulder, 
and lowered them, as a mark of re- 
spect, till the great man had passed, 
as our soldiers ground arms in the 
presence of great personages. This 
is expressed by the phrase fasces 
submittere. 

4. Fasces laureati. When a gene- 
ral had achieved a victory, he had 
the fasces, which were borne before 
him, decorated with laurel leaves (lau- 
reati, Cic. Div. i. 28. Id. Att. viii. 
3.) ; and the emperors also added a 



FAS EL US. 

similar ornament to their own fasces 
in compliment to any of their officers 
who had obtained a brilliant success. 
(Tac. Ann. xiii. 3.) The method 
adopted was, upon such Kh,^ u 
occasions, either to in- igjf J|L 
sert a branch of laurel || %m% 
into the top of the rods, M iff 



as shown by the left- 
hand figure in the an- 
nexed engraving, re- 
pi'esenting the fasces 
carried by a lictor in 
attendance on the Em- 




peror Vespasian, from a bas-relief ; 
or to fasten a laurel wreath upon 
them, as in the right-hand example, 
from a consular coin. 

5. Fasces versi. In mourning, or 
at the funeral of commanders, the 
fasces were reversed (versi, Tac. Ann. 
iii. 2.) ; that is, carried with the axe 
downwards, as our soldiers carry 
their muskets upon similar occasions ; 
and sometimes, as at the funeral of 
Drusus, the staves were broken 
(fracti fasces, Pedo Albin. El. i. 1 7 7.). 
* FASE'LUS (0a(T//Xoc). A light 
craft invented by the Egyptians, 
supposed to have received its name 
from some resemblance to the pod of 
a faselus, or kidney-bean. It was 
made of the papyrus, of wicker-work, 
and sometimes even of baked earth 
(fictilis, Juv. Sat. xv. 127.), all of 
which materials accord with the 
fragile character ascribed to it by 
Horace (Od. iii. 2. 28.), and account 
for the great speed for which it was 
likewise remarkable. (Catull. 4.) 




It was constructed of different sizes, 
and for various purposes ; the smaller 
as a mere row boat (hence styled 
brevis. Serv. ad Virg. Georg. iv. 
289.) ; the larger being of consider- 
able length (Aero, ad Hor. /. c), 
fitted with sails, and employed in 
warfare and on distant expeditions 
(Sail. ap. Non. s.v. p. 534. Cic. Att. 



FASTI. 

\. 13.), whence it is mentioned as 
forming an intermediate class be- 
tween the navis longa, or war galley, 
and the navis aciuaria, or transport 
and packet boat. (Appian. Bell. 
Civ. v. 95.) The illustration, from 
an engraved gem of the Stosch cabi- 
net, may be regarded as affording the 
probable type of a faselus of the 
smaller kind, both on account of its 
shape, the material {papyrus) of 
which it is made, and because it is 
placed under the Egyptian deity 
Horus, the son of Isis and Osiris. 

FASTI. Year books or almanacks 
engraved on stone or bronze, and ex- 
posed in some public parts of the city 
for general inspection and informa- 
tion. They were of two kinds : — 

1 . Fasti sacri or kalendares ; 
which were very similar to our al- 
manacks, containing a list of the days 
and months in the year ; the rising 
and setting of the fixed stars ; the 
market days ; holidays ; the days 
on which the courts of law sat ; those 
which were regarded as ill-omened 
and unlucky; together with a chro- 
nological table, enumerating import- 
ant events in the history of the 
state, such as the anniversary of a 
great battle, the dedication of a tem- 
ple, &c. &c, as is collected from a 
variety of original fragments still 
preserved. 

2. Fasti annates, or historici. Re- 
gisters containing the names of con- 
suls and other magistrates, with the 
dates of their entrance upon, and re- 
tirement from office, inscribed upon 
slabs of marble or bronze, and pre- 
served in the public archives. A 
long list of the Fasti consulares, sup- 
posed to have been engraved during 
the reign of Tiberius, is still displayed 
in the Capitol at Rome. 

FASTI'GIUM. Strictly the top 
or crowning part of a pediment, 
formed by the two converging sides 
of the roof ; whence it came to be 
used, in a more general sense, for the 
entire pediment or fronton of a re- 
ligious edifice, including the whole 



FA UX. 279 

triangular figure, consisting of the 
cornice of the entablature which 
forms its base, the two converging 
cornices at the sides, and the tympa~ 




mint or flat surface, A, within them, 
Vitruv. iii. 5. 12. and 13. Cic. Oral. 
iii. 46. Liv. xl. 2. 

2. When applied to private houses, 
it designates a roof rising to a point 
■at the top, in contradistinction to a 
flat one (Cic. Q. Fr. iii. I. 4.); or 
implies that the front of the house 
was covered by a portico and pedi- 
ment like the pronaos of a temple ; 
an honour not allowed to individuals, 
but decreed by the Romans to their 
Imperial rulers, as a token of divinity. 
(Cic. Phil. ii. 43. Floras, iv. 2.) 

FAT'UI and FAT'U^E. Idiots 
of both sexes, who were purchased 
as slaves, and kept in great Roman 
families for the purpose of exciting- 
merriment by their stupidity. Senec. 
■ Bp. 50. 

FAUX. From its original mean- 
ing, the gullet or entrance to the 
stomach, is used to designate any 
narrow pass or confined entrance 
either in natural or artificial objects ; 
and expressly to a narrow passage 
which formed a communication be- 
tween the two principal divisions of 
a Roman house, the atrium and peris- 




tylium. It was situated by the siue 



2 So FAVISSsE. 



FEMINA L 7 A . 



of the tablinum ; and as there were 
frequently two of these, one on each 
side of the above-named apartment, 
the word is commonly used in the 
plural {fauces, Vitruv. vi. 3. 6.). 
The object of it was to obviate the 
inconvenience of making a passage 
room of the tablinum, as well as to 
afford a ready access from one part 
of the house to the other, when that 
apartment was closed in with screens. 
The relative position which it bore 
to the other members of the house 
will be understood by referring to 
the ground-plan at p. 248., where it is 
marked E, and its general appearance 
in elevation by the annexed engrav- 
ing, which presents a view from the 
house of the Dioscuri at Pompeii, with 
the ceiling only restored. The fore- 
ground shows the interior of the 
atrium, with its impluyhim in the 
floor ; the large deep recess on the 
left at the back, is an open tablinum, 
showing the peristyle through it ; 
and the low dark door at the side is 
the faux, which opens at its further 
end into the peristyle in the same 
way as it does upon the atrium on 
the front here shown. 

2. Also in the plural ; the stalls 
or stables for the horses and chariots 
in the Circus. (Ennius ap. Cic. Div. 
i. 48. Cassiodor. Var. Ep. iii. 51.) 
See Carcer, 2., where the object 
is described and illustrated. 

FAVIS'SyE. Pits, or cellars con- 
structed underneath a temple, in 
which the sacred implements, orna- 
ments, furniture, or other property 
belonging to the edifice were stowed 
away after they had become unfit for 
use. (Varro, ap. Cell. ii. 10. Broc- 
chi, Suolo di Roma, p. 152.) Three 
pits of this nature were discovered 
under the ruins of an ancient temple 
at Fiesole, filled with broken musical 
instruments, various implements and 
utensils in ivory and bronze, as well 
as idols, lamps, and fictile vases, all 
damaged and mutilated. Giornal. 
Arcad. torn. iii. p. 119. 

FAVUS, A flag, tile, or slab of 



marble cut into a six-cornered figure 
of the same shape as the cell in a 
honey-comb (favus), used for making 
pavements of the kind termed sec- 





tilia. (Vitruv. vii. 1. 4.) The illus- 
tration represents a piece of pave- 
ment in the Thermse of Titus at 
Rome ; the honey-comb pattern is 
laid with slabs of fine marble, of the 
kind called pavonazetto. 

FAX {(pur 6c). A torch; which 
was made out of a piece of resinous 
wood cut into a point, and 
dipped into oil or pitch ; Vri 
or of tow impregnated TTS, 
with wax, tallow, pitch, 
rosin, or any inflam- 
mable materials enclosed 
in a tube of metal, or in 
a bundle of wattled 
laths {faculcc), as shown 
by the illustration, from 
the Column of Antoninus. 
Georg. i. 291. Liv. xxii. 16. 
H. N. xix. 7. 

FECIA'LIS. See Fetialis. 

FEMINA'LIA or FEMORA'- 
LTA. Short breeches, or drawers 
which covered the thighs 
{femora), being fastened 
round the waist, and 
terminating a little be- 
low the knee (Suet. 
Aug. 82. Isidor. Orig. 
xix. 22. 29.), like the 
annexed figure, from the 
Column of Trajan. They 
were not, however, usu- 
ally worn by ' the Ro- 
mans in early times, ex- 
cept, perhaps, by some 
few individuals of delicate constitu- 
tion, like Augustus ; as in ordinary 
cases the long and ample toga ren- 
dered such a precaution unnecessary. 
But when that garment fell into dis- 




FEMUR. 



FENESTRA. 



28l 



use, they seem to have been very 
generally adopted ; particularly by 
the troops engaged on foreign service 
in cold and northerly climates; for 
they appear invariably on all the 
figures of the triumphal arches and 
columns, both officers and men. 

FEMUR (fiiio'k)- In architec- 
ture, the long flat projecting face 
between each channel {canaliculus) 
of a triglyph (Vitruv. iv. 3. 5.) ; 



_ 



1 




three of which are seen on each tri- 
glyph, in the annexed engraving, 
from the frieze of a Doric temple 
formerly existing at Rome. 

FENESTEL'LA or FENES- 
TREL'LA. Diminutive of Fenes- 
tra. A small window, or one which 
is less than the usual size. (Colu- 
mell. viii. 3. 3. Pallad. i. 24.) The 
annexed illustration represents two 




of the windows in the house of the 
Tragic Poet at Pompeii, on the street 
side. They are situated on the 
ground floor, at a height of six feet 
six inches above the pavement, and 
are not quite three feet by two in 
size. By the side of each is a 
wooden frame for the shutter to slide 
into when the window was opened. 

FENESTRA (Gvpic). A window ; 
inclusive of the aperture {lumen) in 



the wall, through which the light is 
admitted, and the casement or shut- 
ters, whether glazed or otherwise, 
by which it is closed. The illustra- 
tion represents three ancient win- 
dows of different designs ; the one 
on the left hand, from a Greek bas- 
relief in the British Museum ; that 
on the right from the Vatican Virgil ; 
and the centre one from a marble 




sarcophagus of a later period, found 
in the Vatican cemetery. 

2. Fenestra biforis {Qvp'iQ SikXIc). 
A window opening in two leaves 
from top to bottom, such as we call a 
French window. Ovid. Font. iii. 3. 5. 

3. A loop hole in the walls of a 
fortress, from which missiles were 




discharged. (Cces. B. C. ii. 9.) 
The illustration, which presents a 
view of the Porta Asinaria at Rome, 
constructed by Honorius, shows 
several of these apertures. The low- 
roofed building in front is a modern 
structure. 

4. A hole pierced in the lobe of 
the ear for the pur- 
pose of receiving the 
ring of a pendant or 
ear-ring. (Juv. i. 
104.) Many statues 
have been discovered 
with holes bored in 
the marble, into 
which real ear-rings 
were inserted ; of 
which the annexed 




282 



FENESTRULA. 



FERETKUM. 



engraving, from a bust found at Her- 
culaneum, affords an example. The 
holes in the ears still remain, and 
the pupil of the eye is also hollowed 
to receive an artificial one. 

FENESTRULA. SameasFENES- 
tella. Apul. Met. ix. p. 208. 

FER'CULUM. In a general 
sense, that on which anything is 
borne ; a contracted form for Feri- 
culum ; especially a tray, on which 
a number of dishes were brought up 
at once from the kitchen into the 
eating room (Pet. Sat. 36. 2. Id. 
39. I. Suet. Aicg, 74.) ; whence the 
same word frequently implies the 
dishes displayed upon it, constituting 
what we term a coarse or remove. 
Hor. Sat. ii. 6. 104. Plin. H. N. 
xxxiii. 47. Juv. i. 94. 

2. A sort of portable platform 
borne by a number of men upon 
their shoulders, in solemn proces- 
sions and other pageants, upon which 
any object of attraction was placed 
in order that it might be exposed 
to the general gaze from an ele- 
vated position ; as, for example, the 
images of the gods at the Circen- 
sian procession (Suet. Jul. 76. Com- 
pare Cic. Off. i. 36.); the spoils of 
conquered nations at a triumph 
(Suet. Jul. 37.) ; and even the cap- 
tives themselves, when of sufficient 
consequence, were subjected to this 
cruel exposure. (Senec. Here. Oct. 
110.) The illustration, from abas- 
relief on the Arch of Titus, repre- 




sents eight Roman soldiers at the 
triumph of that emperor, after the 



conquest of Jerusalem, carrying the 
spoils of the temple, the "table of 
gold" (1 Kings vii. 48.) and trum- 
pets on a fercitlum ; another bas- 
relief on the same arch represents a 
group transporting the golden candle- 
stick in the same manner ; a frieze 
shows a statue of the River Jordan 
personified, similarly transported ; 
and a sarcophagus of the Pio-Cle- 
mentine Museum affords an example 
of three captives, two males and a 
female, borne aloft upon a fercalum 
of the same description, by six sup- 
porters. 

FERENTA'RII. A corps of 
soldiers in the Roman armies, classed 
amongst the levis armatura, or light- 
armed troops. (Veg. Mil. i. 20. 
Non. s.v. p. 554.) They were not 
armed for close conflict, having no 
defensive weapons, and only such 
offensive ones as were intended to 
be discharged from a distance (que? 
ferrentur, non qu<z tenerentar. Non. s. 
Decuriones, p. 520. Festus, s. v.), 
whence they are sometimes ranked 
with the Accensi. They were posted 
on the wings in the battle array ; 
and were chiefly employed to com- 
mence the attack by a discharge of 
missiles (Sal. Cat. 60. Veg. I.e.); 
or sometimes, like the Rorarii, to 
annoy the enemy from between the 
ranks of the heavy-armed troops. 
Tac. Ann. xii. 35. 

2. Eqnites ferentarii. A mounted 
corps of the same description, fur- 
nished with javelins for throwing at 
a distance, instead of the fixed cavalry 
lance ; qui ea modo habebant arnia 
quce ferrentur, ut jacnlum. Varro, 
L.L. vii. 57. 

FER'ETRUM and FERET'RUM 
{(pkptrpor). Strictly speaking, a 




Greek word, which the Romans ex- 
pressed by cafulus (Serv. ad Virg. 



FERRARI A. 

/En. vi. 222.) ; the bier, on which a 
dead body was carried to the grave, 
or to the funeral pile (Virg. ^-fs/z. vi. 
222. Ov. Met. iii. 508.), represented 
by the illustration, from a marble 
tomb at Rome. 

2. Same as Ferculum, 2. Sil. 
Ital. x. 566. Id. xvii. 630. 

FERRA'RIA, sc. fodina and offi- 
cina. An iron mine ; an iron foun- 
dry ; and a blacksmith's workshop. 
Caes. B. G. vii. 22. Liv. xxxiv. 21. 

FERRA'RIUS, sc. faber, or abso- 
lutely. A smith, blacksmith, ar- 
mourer, who works in iron, as con- 
tradistinguished from other metals. 




(Plaut. Rud. ii. 6. 47. Inscript. ap. 
Spon. Miscell. Antiq. p. 66.) The 
engraving represents Vulcan and his 
companions at their forge, from a 
Roman bas-relief. 

FERRITER'IUM. A prison 
where slaves were kept in chains. 
Plaut. Most. iii. 2. 55. Same as 
Ergastulum. 

FERRIT'ERUS. A slave kept 
in chains. Plaut. THn. iv. 3. 14. 
See Compeditus. 

FERRIT'RIBAX. (Plaut. Most. 
ii. I. 9.) Same as preceding. 

FERULA {im P e n l). The fennel; 
a plant much used by the an- 
cients for the infliction of slight 
punishments ; as a schoolmaster's 
ferule for chastising boys on the 
hand (Juv. Sat. i. 15.), or the back 
(Apul. Met. ix. p. 196.) ; a riding 
switch (Ov. A. Am. i. 546.) ; and a 
cane for punishing slaves guilty of 
minor offences. (Hor. Sat. i. 3. 119. 



FIBULA. 283 

Juv. vi. 479.) As an instrument of 
punishment, the ferula was thus the 
mildest of those employed by the 
ancients. 

FES'TRA. An antiquated form 
of writing Fenestra. (Festus, s. v. 
Pet. Fragm. xxi. 6.) 

FESTU'CA. A slight rod, with 
which the lictor of a p net or touched 
the head of a slave whose owner had 
restored him to freedom. (Plaut. Mil. 
iv. i. 15. Id. Pers. v. 174.) Also 
called V indict a. 

FETIA'LES {(ptruAuQ and (prjn- 
rtXftc,'). The members of a college of 
heralds at Rome, to whom was en- 
trusted the duty of seeking redress 
of grievances from hostile s:ates, 
carrying declarations of war, and 
assisting in the conclusion of treaties 
of peace. They carried with them a 
wand (caduceus), as the emblem of 
amity, and a spear, as the token of 
war, which they hurled across the 
hostile frontier when hostilities were 
decided on. (Gell. x. 27.) The an- 
nexed figure, from an engraved gem, 
is supposed to represent a Fetialis 
about to depart, upon a hostile mis- 




sion, from the cohimna bellica, on 
which the figure of Minerva is seen 
in the act of discharging a spear, as 
above described. 

FIB'ULA {irtpori], Tropin], ivtrri). 
A brooch, employed in fastening 
various parts of the dress, both in 
male and female attire (Liv. xxvii. 
19. Ov. Met. ii. 412. Id. viii. 318.) ; 
such as the chlamys, palla, pallium, 



2 8 4 



FIBULA 



sagum, and paludamentum, but not 
the toga, which was wrapped on the 
body by the ampli- 
tude of its ' own 
folds, and did not 
require anything to 
fix it. Brooches 
were made of vari- 
ous materials and 
patterns, in bone, 
ivory, bronze, the 
precious metals, and 
of valuable stones 
set in gold ; upon 
die same principle 
as is still adopted, 
with a sharp pin 
{acus, TTtpovr}), 
which shifted into a catch on the 
rim of the ornament and were com- 
monly used to fasten loose draperies 
under the throat, or on the point of 
the shoulder, like the annexed ex- 
ample, from a fictile vase. 

2. A clasp; such as were used 
more particularly for fastening belts, 
girdles, and articles of a like nature 
(V'\xg. AEh. iv. 139.), made with a 
hook instead of a pin which fastened 
into an eye on the opposite end of 
the belt from that to which the fibula 
is fixed, as in the annexed example, 
representing an original military belt 
discovered at Paestum ; which like- 





wise illustrates such expressions as 
fibula adunco morsu (Calpurn. Eel. 
viL 81.), and fibula mordaci dente. 
Sidon. Carm. ii. 397. 

3. A buckle; employed in fasten- 
ing girdles, belts, straps, harness, and 




v. 313. Id. xii. 274.) ; usually made 
in the same form as our own, as 
shown by the annexed examples, all 
from ancient originals. But buckles 
were often made in a much more 
costlv stvle, and of elaborate work- 




things of that description (Virg. 



manship, as productions of art, in- 
tended to be bestowed as rewards 
of valour upon the military (Liv. 
xxxix. 31.), or worn by persons of 
wealth and rank (Plin. H. N. xxxiii. 
12.) ; a specimen of which is afforded 
by the annexed engraving from an 
original of silver found at Hercula- 
neum. The square part was rivetted 
on to a belt by studs passing through 
the four holes visible in the en- 
graving ; the other part, which is 
slightly mutilated at the end, formed 
the buckle, with an ornamental 
tongue, which woi"ked upon a pin 
run through the centre of the orna- 
ment. 

4. A buckle, was also employed 
for fastening the fillet or bandeau 
{tcenia, vitta) which 
voung women wore 
round the head, to 
keep their hair in 
set. Virgil de- 
scribes Camilla 
with her hair con- 
fined in this wav 
{Mn. vii. 815.) ; 
and the annexed 
bust, from a bronze 
statue found at Herculaneum, shows 
the end of the bandeau passed under 
a guard beyond the buckle in the 
same manner as is customary at the 
present day. 




FICTILE. 



FIG [ILL'S. 285 



5. In a more general sense, the 
word is also used to designate many 
things which fasten various objects 
together ; as a trenail in carpentry 
(Cses. B, G. iv. 17.) ; an instrument 
employed in the olive press room 
(Cato, R. R. iii. 5.) ; a band which 
braces the withies in a basket toge- 
ther (Cato, R.R. xxxi. I.); and 
a contrivance adopted by surgeons 
for closing wounds (Greek, dyKriip), 
which compressed the lips of the 
orifice, and held them together, when 
sewing {sutura) was either inexpe- 
dient or impossible. Celsus. v. 26. 
23. Ib. 7. 4. 

FICTILE (ickpafwr). A general 
name given to any thing made of 
earthenware or potter's clay ; in- 
cluding vessels, moulds, Or casts in 
terra-cotta, bricks, tiles, &c. 

FICTOR (7r/\a(T7-//(,-). A general 
term for any artist who models in 
clay, wax, or any plastic material, as 
contradistinguished from one who 
works in bronze, marble, wood, 
ivory, or other solid substances. 
(Cic. Fragm. ap. Lactant. ii. 8. Plin. 
Ep. i. 10.) The annexed figure, 




from a bas-relief of the Villa Al- 
bani, represents an artist of this 
description, as is manifest from the 
small wooden stick held in the left 
hand, which artists still universally 
make use of to form their models in 
clay ; the very fine or delicate con- 
tours were also finished with the 
fingers and nails, which gave rise to 



the expression ad unguem /actus homo 
(Hor. Sat. i. 5. 32.), meaning a 
finished gentleman. 

2. A sort of confectioner, or artist 
who executed models in pastry or 
wax of different animals required for 
sacrifices in certain religious rites, 
but which could not be themselves pro- 
cured for the purpose. Ennius ap. 
Varro, Z. Z. vii. 44. Serv. ad Virg. 
ALn. ii. 1 16. 

FIDE' LI A. A sort of vessel, 
jar, or pot made of earthenware, or 
glass (Columell. xii. 38. 1.), the dis- 
tinctive properties of which are not 
known ; further than that it was 
employed for holding cement (Cic. 
Fam. vii. 29.), as well as various 
other things. Plaut. Aul. iv. 2. 15. 
Pers. Sat. v. 183. Columell. xii. 
10. 4. 

F I D E S or F I D I S. Apparently 
from the Greek a(ptct], cat-gut ; whence 
used as a general term for a stringed 
instrument, such as the lyra, che/ys, 
cithara. Varro, R. R. ii. 5. 12. (J v. 
Fast. v. 104. 

FIDTCEX. A general term for 
a male performer on any stringed 
I instrument. Cic. Fam. ix. 22. 

FIDIC'IXA. A general term for 
a female performer on any stringed 
instrument. Ter. Phorm. i. 2. 59. 

FIDIC'ULA. Diminutive of 
Fidis. A small or thin musical 
string. Cic. N. D. ii. 8. 

2. Mostly in the plural. Fidicul^ ; 
a contrivance for torturing slaves, 
! consisting of a number of thin cords ; 
j but the exact nature of the appara- 
I tus, as well as the manner in which 
! it was applied, is involved in uncer- 
tainty. Suet. Cat. 33. Seneca, Ira, 
iii. 3. and 19. 

FIG'ULUS (jcepapevc). Any artist 
or mechanic who works in clay ; as, 
one who makes figures and ornaments 
in terra-cotta (Plin. H. N. xxxv. 
43.), represented by the preceding 
illustration ; a brick-maker (Juv. x. 
171.), represented by the engraving 
s. Lateraria ; a potter (Varro, 
R.R. iii. 15. 2.), of which trade the 



2 86 



FIMBRIA. 



FISCELLA. 




annexed figure, from an Egyptian 
painting, affords an example. The 
potter sits on 
the ground be- 
fore his wheel 
[rota), on the 
top of which 
is placed the 
lump of clay, 
which he forms 
into shape with 
his thumbs and fingers, exactly in 
the same manner as now practised. 
An engraved gem (Caylus, Recueil, 
8cc. iv. 62.) represents an artizan of 
the same description, with a model- 
ling stick in his hand, sitting before 
a fictile vase, which is situated on the 
top of a miniature kiln, to indicate 
that he is giving the last finish before 
sending it to the oven. 

FIM'BRI A {6l><ravm, icpoaaoi). A 
fringe, or ornamental border to a 
piece of cloth 
(Celsus, ii. 6 
Varro, L. I 
v. 79.), gene 
rally produced 
by leaving the 
extremities of 
the warp 
threads upon 
the cloth after 
it had been removed from the loom 
(see Tela Recta) ; but rich tassels 
and fringes were sometimes made 
separately, and sewn on to the fabric 
at pleasure. Julius Caesar wore 
them round the wrists of a long- 
sleeved tunic. (Suet. Cas. 45.) The 
illustration is from a painting at 
Pompeii. 

FIMBRI A' T U S {Ovaanoroc). 
Furnished with tassels or fringes. 
The preceding wood-cut shows a 
table napkin ornamented in this way ; 
but fringes upon wearing apparel in 
works of art are more especially 
introduced to characterise royal per- 
sonages of foreign and barbarous 
nations, like the captive princes on 
the Arch of Constantine, or the 
Egyptian priesthood, especially Isis 





and her attendants, one of whom is 
represented in the annexed engrav- 
ing, from a Pom- 
peian painting in 
the exact costume 
which Herodotus 
ascribed to that 
class (ii. 81.). It 
was a mark of sin- 
gularity in Julius 
Caesar that he wore 
a fringe on the 
sleeve of his tunic 
(Suet. Cces. 45.) ; 
for amongst both 
Greeks and Ro- 
mans such an appendage was re- 
garded as exclusively feminine. 

2. As applied to whips, see Fla- 
GRUM, 3. 

FISCEL'LA. Diminutive of Fis- 
CINA. A small basket made of 
wicker work or 
rushes, of common 
use in gardening, 
farming, and dairy 
operations ; parti- 
cularly to hold a 
sort of cheese made 
cream (Tibull. ii. 3. 
ricotta by the modern Italians ; one 
of which is represented in the cut, 
with the cheese in it, from an origi- 
nal, as it was found at Pompeii. 

2. ((pt/noc). A small basket put 
over the noses of oxen, as a muzzle, 
to prevent them from cropping the 
young shoots of the vines when 




with curdled 
15.), called 




ploughing (Cato, R. R. 54. 5. Plin. 
H.N. xviii. 49. §2.); and of other 
animals of a vicious nature to prevent 
their biting, as shown by the an- 
nexed engraving, from the Theodo- 
sian' Column. Ginzrot, 85. 3. 



FISCELL US. 



FISTULA. 



287 



FISCEL'LUS. Diminutive of 
Fiscus. Same as FlSClNA. Colu- 
mell. xii. 38. 6. 

FIS'CINA. A large basket, made 
of osiers, Spanish broom, or rushes, 
employed in all kinds 'of out-door 
work, in gardens, orchards, vine- 
yards, and agricultural operations, in 
the same manner as the fiscella ; as 
a fruit basket (Cic. EI. 17.) ; a cheese 
basket (Mart. i. 44.) ; a muzzle for 
horses (Plin. xxxiv. 19. £ 7.); and 
in the wine and oil press room for 
containing the grapes or olives whilst 
under the action of the press beam 
(Columell. xii. 39. 3.), the use and 
action of which are explained and 
exhibited by the article and illustra- 
tion, s. TORCULAR, r. 

FIS'CUS. A large basket of the 
same description and uses, as de- 
scribed under the two preceding 
w ords ; and especially employed in 
the squeezing of grapes and olives. 
Columell. xii 52. 2. //;. 47. 9. 

2. It would appear that the Ro- 
mans made use of a basket of this 
kind for the custody of coin (Cic. 
Verr. i. 8. Phsedr. ii. 7.) ; whence 
the term fiscus came to be applied 
under the Empire to that portion of 
the public revenue which was ap- 
plied to the maintenance of the sove- 
reign, like our "'civil list," as con- 
tradistinguished from the personal 
and private property of the prince 
[res privata Pf iucipis, ratio Ccesaris), 
and from the Exchequer, or Treasury 
of the State [cerarium), out of which 
the expenses of the government were 
defrayed. But this distinction is not 
always strictly observed. 

FIS'SIPES. Cloven footed; 
whence used to designate a reed pen 
(Auson. Epist. vii. 50.). which was 
made, like our own, with a split at 
the nibs ; see the illustration s. 
Arundo. 5. 

FISTU'CA. A rammer, with 
which walls of masonry, floorings, 
and pavements were levelled and 
consolidated (Plin. H. A r . xxxvi. 61. 
Cato, E. R. 28. 2.), as shown by the 




annexed example, from the Column 
of Trajan ; also employed for driving 
piles under water 
(Caes. B. G. iv. 
17.) ; but that, 
from the nature 
of the service 
performed, must 
have been a 
much larger and 
more powerful 
instrument, and probably was worked 
by machinery. 

FISTUCA'TUS. Beaten down, 
consolidated, or driven in with a 
rammer {fistuca). Vitruv. vii. 4. 5. 
Plin. H. N. xxxvi. 63. 

FISTULA [au>\riv). A water 
pipe. (Cic. Kabir. perd. 1 1. Frontin. 
Aq. 25.) These were generally 
made of lead ; but in the Villa of 
Antoninus Pius at Lanuvium, a por- 
tion of one has been discovered, 
weighing between thirty and forty 
pounds of pure silver, so that the 
description of Statins [Sylv. i. 5. 
48.), which records a similar extra- 
vagance, is not a poetic fiction. The 
example here given represents part 



of an original excavated in Rome, 
where many similar specimens have 
been found, all of which possess the 
same peculiarity of form as here ob- 
servable, being compressed at the 
top, but circular below. 

2. [nvpiyQ. A Pan's pipe, made 
of the stalks of the reed, cane, or 
hemlock. (Virg. Ed. ii. 36. Tibull. 
ii. 5. 31.) See Arundo, 6. 

3. A writing pen made of reed or 
cane. (Pers. iii. 14.) See Arundo, 5. 

4. {KnBtri'ip). A metal catheter, 
distinguished by the ancient surgeons, 
as well as our own. into two sorts, 
the male and female. (Celsus, vii. 
26. 1.) See Catheter. 

5. An implement employed by 
the shoemaking trade ; perhaps, a 



2 88 FISTULA TOT?. 



FLA CELL UM. 



shoemaker's punch. Plin. H. N. 
xvii. 23. r 

6. A rolling pin for making pastry. 
Apic. 42. 

7. Fistula farrarui, ferraria, or 
serrata. Supposed to be a machine 
for grinding corn (Plin. H. N. xviii. 
23. Cato, R. R. 10. 3), but the read- 
ings are uncertain ; some of the old 
editions of Cato have Jiscella fari- 
naria. 

FISTULA'TOR. One who blows 
the Pan's pipe ( fistula), Cic. Or. iii. 
61., in which passage it is specially 
used to designate a piper employed 
by the Roman orators to assist them 
in keeping their voices at a proper 
pitch, one of whom, it is insinuated 
by Cicero, always accompanied 
Gracchus when he spoke in public. 

FISTULATUS. Hollow, perfo- 
rated, or fitted with tubes. Suet. 
Nero, 31. 

FLABELL'IFER. In a general 
sense, any one who carries a fan 
{flabellum) ; the name is specially 
given to young 



slaves of the 
male or female 
sex (Plaut. 
Trin. ii. 1. 29.), 
whose business 
it was to carry 
their mistress's 
fan, and fan 
her when re- 
quired. The 
illustration re- 
presents Cupid 
as the fan- 
bearer of Ariadne, lamenting her de- 
sertion, in a Pompeian painting ; 
other designs in that city, as well as 
on fictile vases, exhibit females in a 
similar capacity. 

FLABELL'UM (pnric). A fan. 
(Terent. Eun. iii. 5. 50.) The fans 
of the Greek and Roman ladies 
were made with the leaves of the 
lotus plant, of peacock's feathers 
(Prop. ii. 24. 11.), or some expansive 
material, painted in brilliant colours 
(Mart. iii. 82. ) ; were not constructed 





to open and shut, like ours, but were 
stiff, and had a long handle the 
most convenient 
form for the 
manner in which 
they were used ; 
viz. for one per- 
son to fan an- 
other, a slave 
being always em- 
ployed for pur- 
pose. (Flabellifer.) The left-hand 
figure in the illustration represents 
a fan of lotus leaf, from a Pompeian 
painting ; the right-hand one, of 
peacock's feathers, from a painting 
discovered at Stabia. 

FLAGELLUM (ju"<mS). A cat, 
or scourge ; made with a great num- 
ber of knotted and twisted tails, like 
the numerous feelers of the polypus, 
which are consequently designated 
by the same name (Ov. Met. iv. 
367.) ; chiefly employed for the 
punishment of slaves. ( Juv. vi. 478. 
Hor. Sat. i. 2. 41. Ib. 3. 119. Mar- 




cell. Dig. 48. 19. 10.). Though a 
diminutive of Flagrum, it was in 
reality an instrument of greater seve- 
rity ; the diminutive only applying to 
the fineness of the fibres which com- 
posed it, but which, by their very na- 
ture, increased the sufferings inflicted. 
Consequently, it is characterised by 
the epithet horribile ; in some cases, 
even producing death (Hor. //. cc.) ; 
and the nature of the wound pro- 
duced by it is always specified by 
words which are descriptive of cut- 
ting, such as cccdere, secare, scindere 



FLAG RUM. 



FLAM EN. 



289 



(Hot. Juv. //. cc. Ov. Ibis, 183.), in 
contradistinction to those connected 
with flagrum which express an 
action of thumping or pounding, such 
as pinsere or rutupere. The scourge 
held by the upright figure in the il- 
lustration, which is copied from the 
device on the handle of a bronze jug 
found at Pompeii, is no doubt in- 
tended to represent one of these in- 
struments ; but it will be readily 
conceived from the minuteness of 
the design, consequent upon the 
confined space allotted to it, that it 
affords only an imperfect idea of the 
real object. 

2. A driving-whip (Virg. JEn. v. 
579. Sil. iv. 440.) ; in which case 
we may infer that it designates one 
of a severer description than those 
commonly used ; with two or three 
thongs, for instance, instead of a sin- 




gle one like the scutica. The speci- 
men here introduced is used by a 
Triton in a Pompeian painting. 

3. The thong attached to a har- 
poon (ac/is), for the purpose of draw- 
ing it back again to the pei-son who 
had launched it. Virg. ^Fn. vi. 730. 
Servius ad I. 

FLA'GRUM. An instrument 
employed chiefly for the punishment 
of slaves (Plant. 
Amph. iv. 2. 10. 
Mart. xiv. 79.), 
consisting of se- 
veral chains with 
knobs of metal at 
their extremities (whence durum, 
Juv. v. 172.), appended to a short 
handle, in the same manner as a 
whip ; but which dealt out heavy 
blows rather than lashes ; conse- 
quently the effects produced by it 
are described by words expressive of 
thumping, pounding, and breaking 
{pinsere, Plant. Merc. ii. 3. 80. rum- 
pere, Ulp. Dig. 47. 10. 9. ), and not 




of cutting, or lashing, which is cha- 
racteristic of the flagelhcm. Livy 
(xxviii. 11.), however, has cczsa 
flagro. The illustration is copied 
from an original found at Hercula- 
neum, in the houses of which city 
other specimens have been found, 
with two and five tails, but otherwise 
of similar character to the present. 

2. Flagrant talis tessellation (fxaa- 
rt£ avTpuyakiOTt}). A whip com- 
posed of a number 
of long lashes {pro- 
lixe fimbriatum ), 
with the pastern 
bones [tali) of sheep 
tied up in them, 
and affixed to a 
short handle, with 
which the priests of 
Cybele affected to 
flog themselves for 
the purpose of ex- 
citing compassion 
amongst the ig- 
norant multitude. 
(Apul. Met. viii. 
p. 173.) The ex- 
ample annexed, 
corresponding in every respect with 
the above description, is copied from 
a marble bas-relief representing Cy- 
bele surrounded by various imple- 
ments employed in her worship, of 
which the above forms one. 

3. Flagrum fimbriatum (Apul. /. c), 
furnished with a number of lashes, 
which hang together like a fringe 
(fimbria), whence the name. 

FLAMEN. A Flamen ; the title 
given to any Roman priest attached 
to the service of some single divi- 
nity (Cic. Leg. ii. 8.), each being 
distinguished by the name of the 
deity to whom he ministered (Varro, 
L. L. v. 84.) ; as Dialis, of Jupiter; 
Martialis, of Mars ; Quirinalis, of 
Romulus. His pontificial dress was 
the loena, fastened by a brooch at the 
throat, and the cap called apex, with, 
an olive stick and flock of wool on 
its crown. Serv. ad Virg. sFu. 
iv. 262. 

T 




290 



FL A 31 1 NIC A . 



FOCULUS. 




above figure, from a Roman marble, 
representing a bride (nupta) at her 
wedding ; and was so retained until she 
arrived at her new home, when she 
was unveiled by her husband ; as is 
exemplified by the annexed figure, 
also from a Roman marble, in which 




the bride is seen sitting unveiled 
upon a couch, but with the flam- 
nteum still on her shoulders, and 
exhibiting a very natural gesture of 
feminine modesty, or regret for the 
loss of her old friends and com- 



FLAMIN'ICA. The wife of the 
Flamen Dialis. Festus. s. Flamen. 

FLAMMEA'RIUS. ' One who 
makes, or deals in, flammea. Plant. 
AuL iii. 5. 35. and FLAMMEUM. 

FLAMME'OLUM. Diminutive 
of Flammeum : not, however, mean- 
ing small in size, but of a very fine 
and thin texture ; consequently of 
greater value. Juv. x. 334. 

FLAM'MEUM. The marriage 
veil, worn by a Roman bride on her 
wedding day It was of 
a deep and brilliant yel- 
low colour (Plin. H. A T „ 
xxi. 22. ), like a flame, 
From which circumstance 
the name arose ; and of 
large dimensions, suffi- 
cient to cover the whole 
person from head to foot. 
During the ceremony it 
was worn over the head, 
to shield the downcast 
looks of virgin modesty 
Xucan. ii. 361.), as exhibited in the ! 



pam-ons. . . . 

FLAM'MULA. 



A banner :used 





in late times by some of the cavalry 
regiments of the 
Roman armies (Ye- 
get. Mil. ii. I. Id. 
iii. 5. ) ; which may 
have received the 
name from being of 
a yellow colour, like 
the bridal veil, ( flam- 
maim) ; or from be- 
ing notched at the 
end into long pointed forks like a 
flame (flam ma), a specimen of which 
is exhibited in the annexed wood-cut 
from the arch of Septimus Severus. 

FOCA'LE (wpoGyvaQidioT). A 
wrapper for the neck 
and jaws (fauces, 
quasi faucale), like 
our neck-cloth or 
cravat ; originally 
only worn by deli- 
cate persons and in- 
valids (Hor. Sat. ii. 
3. 255. Quint, xi. 3. 
ordinary part of the Roman costume, 
as it is of ours ; but when the exten- 
sion of the Emph-e forced the Roman 
soldiers to endure the severities of 
northern climates, it seems to have 
been generally adopted in the army ; 
for it is universally worn by the 
troops in the armies of Trajan, An- 
toninus, and Septimius Severus. in 
the manner shown by the annexed 
example, the ends of which hang 
down over the chest exactly as de- 
scribed by the Scholiast on Horace 
(/. c ), a collis dependentia, ad foven- 
dum collwn, et fauces contra frigus 
muniendas. 

FOCA'RIUS. One of the lowest 
class of household slaves, attached to 
the kitchen department, where he 
had to attend to the fire, and pro- 
bably perform the common drudgery 
of the place. Ulp. Dig. 4. 9. I. 

2. Focaria. A female slave 
ployed in the above services ; a 



144.), not as an 



Bis. 



em- 
kit- 
12. 



chen-maid. Ulp, 
Pomp. ib. 15. 

FOCULUS. Diminutive of Fo- 
cus ; any small or portable fire-place ; 



FOCUS. 



291 



especially in the following specific 
senses and uses : — 

1. The cavity on the top of an 
altar for 

which the fire was kin- 
dled (Liv. ii. 12.); 
whence also used for 
the altar itself. (Cic. 
Dom. 47.) The exam- 
ple represents a small 
marble altar, showing 
the foculus at the top, 
from an original found at Antium. 




2, (ea\apiov}. A brazier 



cha- 



fing-dish, in which charcoal or wood- 
ashes were burnt, for the purpose of 
warming apartments. Many of these 
have been discovered in the houses 
of Herculaneum and Pompeii, both 




round and square, but similar in 
general character to the specimen 
annexed, from an original of bronze. 

3. A small portable stove or fire- 
place, employed for culinary and 
other purposes. (Plaut. 
Capt. iv. 2. 67. Juv. 
Sat. hi. 262.) The ex- 
ample, from a painting 
found in Herculaneum, 
shows the stove raised 
upon a stand supported 
on three legs, in order 
to give room for venti- 
lation underneath, the 
door in front through which the 
charcoal was to be inserted, and a 
vessel on the top, containing the in- 
gredients which the figure stirs round 
whilst they boil. 

FOCUS (frTTjfir, Icf-^apn). A fire- 
place ; the hearth of a house. (Cic. 
Sen. 16. Hor. Od. i. 9. 5. Tibull. i. 
1. 6.) Amongst the Romans, the 
hearth was consecrated to the Lares., 
and held as a sacred spot in the 
house ; consequently, it was situated 
in the public hall, or atrium, where 
the altar of the household gods also 




stood (see Ara, 5.): hence the frequent 
juxtaposition of the words pro aris et 
focis in solemn adjurations. It con- 
sisted of a square platform of stone 
or bricks, raised a few inches only 
from the ground, as is manifested by 
numerous instances still visible at 
Pompeii ; upon this the fire was 
kindled with logs of wood resting 
upon andirons (vara), but in most 
cases without any flue or chimney to 
carry off the smoke. 

2. Same as FOCULUS, I. The 
hollow part at the top of an altar tor 
burnt-offerings, in which the fire was 
kindled ; thence, the altar itself. 
Ov. A. A. i. 637. Tibull. i. 8. 70. 

3. Focus turicremis. A brazier 
or fire-pan. made of metal and fur- 
nished with han- 
dles for the 
convenience of 
being transported 
from place to 
place, and upon 
solemn occasions 
set down before 
the altar or 
statue of a divi- 
nity, to serve the 
purpose of a cen- 
ser for burning 
pastiles of frankincense. (Ov. Her. ii. 
18. Marini, Fr. Arv. p. 311.) The 
illustration, from an ancient Roiran 
fresco, exhibits a female with a dish 
of pastiles in her left hand, and the 
focus turicremis burning on the groundj 
beside her, into which she drops them 
one by one. 

4. A sort of hot plate, invented by 
the luxurious Romans for the pur- 
pose of having their soups and ra- 
gouts thoroughly hot when brought 
to table. It was made of metal, and 
contained a fire of kindled charcoal, 
as well as the dish or vessel with 
the viands ready cooked, all of which 
were thus carried up at once from 
the kitchen to the dining-room, which 
Seneca expresses by saying the kit- 
chen accompanies the meal — cu/ina 
canatn prosequitur. (Senec. Fp. "jS. ) 




292 FOB IN A. 



The illustration represents an utensil 




of this kind, from an original in 
bronze found at Pompeii, with a 
section of the inside, and a drawing 
of the pan which contained the viands, 
placed between them. The charcoal 
was inserted and replenished through 
the small door at the bottom ; the 
smoke escaped through two aper- 
tures at the sides, each ornamented 
by a lion's head ; the handles at the 
top served to carry it ; and the pan 
was let in at the top, where it was 
supported over the fire by the rim 
round its surface. 

FODI'NA {f/iraWor). A mine 
from which minerals, &c, are dug ; 
each particular mine being marked by 
a distinguishing epithet ; as, auri fo- 
dina, a gold mine ; argenti fodina, a 
silver mine ; which are also fre- 
quently written as one word. Ulp. 
Dig. 27. 9. 3. Vitruv. Plin. 

FCENIS'ECA, FCENISECTOR, 
FGENISEX'. A mower of grass with 
a scythe, as contradistinguished from 
a reaper of corn with a sickle. Co- 
lumell. ii. 18. 5. Id. xi. I. 12. Varro, 
R. R. i. 49. 2. 

FOLLICULATtE (atx/cw/ja). The 
shaft of an oar at the point where it pro- 
trudes from the ■ 



oar port, which 
was encircled 
by a leather 
cap or bag 
[follicuhis), to 
ease the wear 




and tear of the oar, and prevent the 
water in heavy seas from entering 
the vessel through the port.. Both 
the form and situation of this cap are 



FOLLIS. 

clearly shown by the illustration, 
which- represents several oars fur- 
nished with the guard described, as 
they are seen on the side of a vessel 
in a bas-relief of the Villa Albani. 
FOLLIC'ULUS. Diminutive 01 

FOLLIS. 

FOLLIS. A ball inflated with air, 
and of large dimensions, which, from 
its lightness, was peculiarly adapted 
for the amusement of very young 
or old people, as affording exercise 
without violent exertion. (Mart, 
xiv. 47.) The annexed illustration 
is from the device on a coin of Gor- 
dian hi., as published by Mercuriali 




(Gymn* p. 126.) ; and resembles, both 
in the size of the inflated bladder, 
and the manner in which it is em- 
ployed an amusement still common 
in Italy,, known as the game of the 
big ball (il giuco del flallone), at which 
the players have their right arms, 
from the elbow to the wrist, covered 
with a guard like that exhibited in 
the engraving ; with this they strike 
the ball, which another person de- 
livers to them, as the bowler does at 
cricket. 

2. A cushion or mattress inflated 
with air, instead of stuffed with fea- 
thers, which latter w T as considered 
more luxurious. Lamprid. Elag. 25. 

3. A large leather bag for holding 
money (Juv. xiv. 281.) ; especially 
used in the army as a military chest 
for keeping the soldiers' pay. Veg. 
Mil. ii. 20. 

4. {(pvaa). A pair of bellows ; 



FORCEPS. 



FORI. 



293 




consisting of two boards, with a 
air-valve (parma), united 
by a skin of ox or cow 
hide, so as to form a 
machine similar to what 
we now use, as shown 
by the annexed figure, 
from a terra-cotta lamp, 
in the collection of Lice- 
tus (Lucern. vi. 24. 2.), 
Cic. N. D. i. 20. Pers. 
v. II. Bellows, also 
made of goat's skin [folks hircini), 
are mentioned by Horace {Sat. i. 4. 
19.) ; and of bull's hide (folks tau- 
rini) by Virgil (Georg. iv. 171.) ; but 
this latter is only to be taken as a 
poetical expression, or was written in 
ignorance of a well known fact, that 
bull's leather is unfit for making 
bellows. Beckman, Hist, of Inven- 
tions, vol. I. p. 64. London, 1846. 

5. Folks fabrilis. A blacksmith's 
bellows (Liv. xxxviii. 7.) of large 
dimensions, such as employed in our 
forges ; of which an instance is af- 
forded by the engraving s. Fer- 
RARIUS. 

FORCEPS (-n-vpaypa). A pair of 
tongs, such as were used by smiths 
for taking the heated metal out of 
the fire, and holding it upon the 



anvil, whilst being worked. (Isidor. 
Orig. xix. 7. 3. Ov. Met. xii. 277. 
Virg. Ain. viii. 453.) The example 
represents a pair of Vulcan's tongs, 
from a marble bas-relief. Compare 
illustrations s. Marcus and Mar- 
culus. 

2. (pi^aypa). A particular kind of 
dentist's instrument, in. the form of 




pincers, employed for extracting the 
roots of decayed teeth (Celsus, vii. 
12. I.) ; a purpose which medical 



men have assigned to the instrument 
here figured, from an original dis- 
covered, amongst other surgical in- 
struments, in a house at Pompeii, 
and for which it seems well adapted. 

3. (ooovTc'iypci). A pair of pincers 
for drawing teeth (Celsus, vii. 12. 

I. ), which were constructed with 
bent claws (uncis). Lucil. Sat. xix. 

II. Gerlach. 

4. (apthoVr/pa. Serv. ad. Virg. 
s£n. xii. 404.) A pair of pincers 
expressly constructed for the purpose 
of extracting spear or arrow heads 
from wounds. Virg. and Serv. /. c. 

5. In military language ; same as 
Forfex, 3. Cato, ap. Fest. s. Serra. 

FORFLX (ipaXic, pox^ipa dnrXrj, 
Pollux, ii. 32.) A pair of scissors, 
clippers, or shears, em- 
ployed 



for 



snipping 

(Columell. xii. 44. 4.), clipping the 
hair or beard (Mart. vii. 95.), shear- 
ing sheep (Calpurn. Eel. v. 74.), and 
other similar purposes. The exam- 
ple represents a pair of sheep shears, 
as seen over the figure of a ram in 
an engraved gem ; and the wood-cut 
at p. 208. shows an instrument of 
exactly the same form, used as a pair 
of scissors by a party of garland 
makers. The form of the instru- 
ment, moreover, which is round at 
the bottom, as Galen describes the 
Greek \l*a\ic, not only identifies that 
word with the Latin forfx, but also 
accounts for the secondary meanings 
which it bore ; viz. a vault, an 
absis, and an arched aqueduct. 

2. A pair of shears for raising 
weights. Vitruv. x. 2. 2. 

3. In military language, a tenaille, 
or body of troops disposed in the 
form of the letter V, to receive the 
attack of an enemy advancing in the 
shape of a wedge (cunens), which it 
admitted within its position, and then 
closed upon his flanks. Veg. Mil. 
iii. 18. Gell. x. 9. 

FORFIC'ULA tyaXtdiov). Di- 
minutive of Forfex. Plin. H. N. 
xxv. 23. 

FORI. Plural of Forus. The 



294 



FORI C A. 



FORIS. 



skip's floors (Latin and Anglo-Saxon 
Glossary of the loth century). This 
includes the flooring of the deck 
(Gell. xvi. 19. 3.) ; the gangways 
by which the mariners passed about 
the vessel (Cic. Sen. 6. Lucan. iii. 
630.), those between the rowers' 
benches (Virg. ALn. vi. 412.), and 
perhaps the benches themselves. 
Isidor. Orig. xix. 2. 

2. The standing-places on a tem- 
porary platform erected for the ac- 
commodation of spectators at a public 
show. Liv. i. 35. Festus, s. Forum. 

3. The floors, one above the other, 
by which the Roman agriculturists 
sometimes divided their beehives 
(Virg. G. iv. 250.) into a number 
of separate stories -; as shown by the 
annexed example, from an original of 




bronze discovered at Pompeii. The 
left-hand figure shows the outside ; 
the right-hand one, a section of the 
inside divided into stones ; and the top 
one the movable lid with its handle. 

4. Narrow furrows in a field or 
garden formed into parallel lines by 
the hoe. Columell. x. 92. 1. 

FOR'ICA (tfa/eoe). A set of public 
privies, like the cabinets cfaisance of 
Paris, distributed in various parts of 
the city for the convenience of the 
population. A small fee charged for 
the accommodation, together with 
the profits arising from the sale of 
the contents, induced individuals to 
take such premises on lease, as a 
means of gaining a livelihood, fuv. 
iii. 38. Ruperti ad I. Theophrast. 
Char. 14. where the absent man. 
having overeaten himself, is obliged 
to go out at night to the privy, and 
gets bitten by his neighbour's dog as 
he returns home ; which, proves that 
the word is not applied to a private 



convenience, but a public one apart 
from his own residence. 

FORICA'RIUS. The lessee of a 
Forica. Paul. Dig. 22. 1. 17. § 5. 

F O R I C ' U L A. Diminutive of 
FORIS ; a xmndozv-shutter. (Varro, 
K. R.'\. 59. 1.) See the illustration 
s. Fenestella, which shows a shal- 
low recess on the outside of the wall, 
to receive a wooden shutter when it 
was pushed back from the window. 

FORIS ( 

The door itself, as distinct from the 
doorcase (Liv. vi. 34. Cic. Verr. ii. 
T. 26. Plaut. Cure. i. 3. I.) ; and- 
especially of one which opened out- 
wards. (Serv. jEn. i. 449.) The 
doors of the ancients were genei'ally 
made in two leaves, like our folding 
doors (illustration s. Janua) ; con- 
sequently, the word /oris is mostly 
used in the plural ; but when it 
occurs in the singular, we are to 
understand that one only of the 
leaves is meant (Ov. Her. xii. 150.), 
or that the door consisted of a single 
leaf, which the ancients sometimes 




used in the interior of their houses, 
as shown by the illustration, from the 
Vatican Virgil. 

2. Fores careen's. The doors 




FORMA. 



F0RM1D0. 



2 95 



the circus, in which the horses and 
chariots were stationed before they 
started for the race, as shown by the 
annexed wood-cut, from a bas-relief 
in the British Museum. Ov. Trist. 
v. 9. 29. 

FORMA (rviroc). A model, mould, 
0* form, by which other things of a 
plastic, fusible, or ductile nature are 
made to assume any shape required ; 
as — 

I. A mould for taking terra-cotta 
casts. These were made of stone, 
with the design engraved upon them 
in intaglio, into which the wet clay 
was pressed, and then put into an 




oven to be baked in its mould. The 
illustration shows an original mould 
on the right hand found at Ardea, 
with the cast from it [ectypus) on the 
left. 

2. (xoctvoc). A mould for fusible 
metals, casts in bronze (Plin. H. N. 
xxxvi. 49.), coins (Lamprid. Alex. Sev. 
39.), and similar objects, also made of 
stone, sufficiently hard to resist the 
molten heat ; or of baked earth ; of 
which material the annexed example 
is composed, representing an original 




mould for coins with a specimen of 
the money upon a rather larger scale 
by the side. A number of models, 
with a reverse of the device engraved 
on both sides, are arranged in the 
case, at a distance from one another 
corresponding with the exact thick- 




ness of the intended coin ; the liquid 
metal was poured into the groove at 
the side, from which it flowed through 
the holes there seen, and produced a 
perfect coin between each layer of 
the types. 

3. A mould for making bricks. 
Pallad. vi. 12. 

4. A mould in which cream 
cheeses, were pressed, made of box- 
wood (Columell. vii. 8. 7.) ; also de- 
signated by the diminutive Formula. 
Pallad. vi. 9. 2. 

5. (icaXcnrov:). A shoemaker 's last ; 
made of wood like our own, and 
with a handle to 
it, as shown by the 
annexed example 
from a painting of 
Herculaneum, re- 
presenting two genii as shoemakers 
engaged at their trade. Hor. Sat. ii. 
3. 106. Ulp. Dig. 9. 2. 5. § 3. 

6. The water-way or channel of 
an aqueduct, or that part of it which 
is conducted underground, instead of 
being raised upon arches (Frontin. 
Aq. 75. 126.), and which is conse- 
quently embedded in the earth, like a 
cast in its mould. 

FORMA'CEUS. See Paries. 

FOR MEL' LA. Diminutive of 
Forma. Either a small mould for 
giving an artificial 
and fanciful form 
to fish when dressed 
up for dinner, or 
probably a mould 
in the shape of a fish, 
nexed specimen, from 
found in Pompeii. Apic. ix. 13. 

FORMFDO. A sort of scare- 
crow, employed by huntsmen for the 
purpose of driving their prey in a 
particular direction, to where the 
toils were laid. It consisted of a 
long line stretched across any given 
district, to which a number of fea- 
thers of different colours were at- 
tached ; and as these fluttered in the 
wind, they frightened the animals, 
and deterred them from retreating 
towards the site where the scarecrow 




like the an- 
an original 



296 



FORMULA. 



FORNAX. 



was exhibited. (Grat. 85. 88. Ne- 
mes. 304. Virg. Ain. xii. 750. Senec. 
Ira. ii. 12.) Hence the allusion of 
Horace {Sat. i. 8. 3. ), when he terms 
Priapus the terror of thieves — furum 
formido. 

FOR'MUL A. Diminutive of 
Forma. 

FORNACA'RIUS, FORNACA'- 
TO R, FURNACA'TOR. The 
slave who attended an oven, or a 
furnace at the baths. Ulp. Dig. 9. 
2. 27. Paul. Dig. 33. 7. 14. Inscript. 
in the baths at Pompeii. 

FORNAC'ULA. Diminutive of 
Fornax. A small furnace for 
smelting metals (Juv. x. 82.) ; or for 
heating, boiling, or melting anything 




of a liquid or fusible nature. The 
illustration represents an ancient 
Roman fornacula in elevation, like 
one of our coppers, from an excava- 
tion near Wansford in Northampton- 
shire, and was intended for making 
the glaze employed in a neighbour- 
ing pottery, to varnish ^> 
over the outsides of o ir y}} 
the earthenware vessels 
there made. The small ^g^K^T 
cut, let into the text, c^m^^&f; 
presents a transverse 
section of the copper and furnace, 
and shows how they were con- 
structed. 

2. Fornacula balnearwn. The fur- 
nace and flues employed for heating 
the thermal chamber in a set of 
baths (Fronton, ad. M. Cces. I. 
Ep. 2.), which are plainly shown in 
the annexed engraving, representing 
the section of a bath-room excavated 
at Tusculum ; the furnace is seen on 
the left with the boilers over it, 



and the flues extending under the 




whole flooring of the room towards 
the right. 

FORNAX (icdfiivot;). An oven or 
kiln for baking pottery. Cic. N. D. 
i. 37.) The illustration shows the 




remains of a Roman pottery kiln, 
discovered near Castor in Northamp- 
tonshire. The low door in front is 
the entrance to the furnace (prcefur- 
nium ) ; the circular building at the 
back, the kiln in which the vessels 
were baked upon a floor suspended 
over the furnace. The floor still re- 
mains entire, as shown by the eleva- 
vation ; but the manner in which it 
was supported by a central pillar, the 
locality of the furnace, the situation 
of the vessel and the vaulting which 
covered in the 

oven, will be \ 
better under- / \ 

annexed section *\ \ g g ^ f p fi> fi(. 

of the structure, vHw^f r 

in w hich all ]\V»l|/tt74' 

these particulars 1 ^& U 1 I 



FORNICA TUS. 



FORNIX. 



297 



are visible ; and nothing is added but 
some vases and a dotted line to com- 
plete the original form of the kiln. 

2. Fornax ceraria. A smelting fur- 
nace (Plin. II. N. xi. 42. Virg. ALn. 
vii. 636.) ; of which an example is 
given at p. 104. s. Caminus. 

3. Fornax c ale aria. A lime kiln 
(Cato. R. R. xxxviii. 4.) ; constructed 
in the following manner : — An exca- 
vation was made in the earth of 
sufficient depth to form a spacious 
vault {fornix) for the furnace, and 
provided with an entrance mouth 
{prcefurnium), both in front and 
rear ; the former for introducing the 
fuel, the latter for removing the em- 
bers. The gulley or shaft {fauces) 
which formed the approaches to the 
mouths of the furnace, were sunk in 
a perpendicular direction, in order to 
screen the furnace and its apertures 
from currents of wind. The part of 
the kiln above ground {summa for- 
nax) was then built up with bricks 
or rough stones (ctzmenta), coated 
with clay to confine the heat, and of 
a conical form, six feet wide at 
bottom, converging to three at the 
top, where it ended in a circular 
aperture or chimney {orbis summits). 

4. Fornax balineu (Labeo. Dig. 
19. 2. 58.) The furnace of a bath. 
See Fornacula. 2. 

FORNICATUS. See Paries. 

FORNIX. Anarch; a mechani- 
cal construction in the form of a 
segment of a circle, formed by intra- 
dos and voussoirs which hold them- 
selves together by mutual gravitation. 
(Cic. Top. 4. Seneca, Ep. 90.) Same 
as Arcus, 4. which see. 

2. An archway, erected by some 
individual to commemorate himself 
and ornament the city (Cor. Verr, i. 
7. ii. 63. Liv. xxxiii. 27. Id. xxxvii. 
3.) ; but not a triumphal arch {arcus 
triumphalis), as is proved by the 
above passages from Livy ; one of 
which has reference to an archway 
erected by Scipio Africanus before 
the commencement of the campaign, 
the other by L. Stertinius at the 



conclusion of his command, which 
ended without a triumph. Thus the 
archway which forms one of the en- 
trances into the Forum at Pompeii 
would be properly termed a fornix ; 
that of Titus, of Septimius Severus, 
or of Constantine at Rome, an arcus ; 
though the external appearance, in 
respect of ornament and design, was 
the same in both. See Arcus, 5. 
and the illustration there given. 

3. A vault, or vatilted chamber ; es- 
pecially of a confined and common 
description, such as was inhabited by 
slaves and poor people ; hence, the 
cell of a common prostitute (Hor. 
Sat. i. 2. 30. Juv. xi. 171.), for at 
Rome such persons pursued then- 
vocation in vaults of this description ; 
which practice has given rise to the 
modern term fornication. The illus- 
tration represents a set of small 
rooms constructed in this manner 




amongst the ruins of a Roman villa 
on the bay of Gaieta. The doors 
and wall which closed them in front 
have perished ; but the remains are 
sufficient to give a clear notion of the 
construction termed fornix. 

4. A vaulted sallyport in the 
towers and walls of fortified places, 
by which the defenders might make 




a sudden irruption against their 
assailants. (Liv. xxxvi. 23.) The 



2g8 FOKNUS. 



FOR UM. 



illustration represents one of the 
towers belonging to the walls of 
Pompeii, in its present state, with a 
sally-port, on the left, at the bottom ; 
the two dark arches, exposed above, 
contain the staircases, and were con- 
cealed by the external wall, when the 
tower was in its original state. 

FORNUS. Same as Furnus. 
Varro, ap. Non. s. v. p. 531, 

FORPEX. (Cato R. R. x. 3. 
Suet. Aug. 75.) Same as Forfex. 
A pair of tongs. 

FORTAX. (Varro. R. R. xxxviii. 
4.) Applied to masses of chalk ar- 
ranged together in the form of an 
arch {fornix) over the fire in a lime 
kiln, so as to support themselves by 
mutual graviiy, and the whole mass 
above them in the kiln, while under 
the process of burning for making 
lime. 

FOR'ULUS A 'dwarf bookcase, 
or cabinet for books (Juv. iii. 219.) ; 
not permanently fixed to 
the walls, like the ar- 
marium, but forming a 
small moveable reposi- 
tory (Suet. Aug. 31.), for 
a few favourite authors, 
like the example an- 
nexed, from a bas-relief 
on a sarcophagus, now 
used as the receiving 
basin of a fountain in one of the 
streets at Rome. 

FORUM. In its original sense, 
implied the uncovered space of ground 
left in front of a. tomb, and in which 
the same right of property existed as 
in the sepulchre itself. Festus, s.v. 
Cic. de Legg. ii. 24. 

2. (itynpd). A market-place ; con- 
sisting of a large open area in the 
centre, where the country people ex- 
hibited their produce for sale, sur- 
rounded by outbuildings and colon- 
nades, under which the different 
trades erected stalls, and displayed 
their wares or merchandise. In 
small towns a single forum would 
suffice for different markets ; but in 
large cities like Rome, almost every 




class of provision dealers had a mar- 
ket of their own, distinguished by 
the name of the produce sold in it ; 
as forum boarium, the cattle market ; 




oliforium, the cabbage or vegetable 
market ; both of which are repre- 
sented in the annexed illustration, 
from an ancient painting, containing 
views of several sites in the city of 
Rome with their names inscribed 
upon each. The illustration also 
shows distinctly the manner in which 
an ancient market-place was laid out 
and enclosed. Varro, L. L. v. 146. 

3. The Forum ; i. e., a large open 
area, of a nature somewhat similar to 
the last described ; but laid out upon 
a much more magnificent scale, and 
intended as a place for holding public 
meetings in the open air, and for the 
transaction of judicial and commercial 
business rather than a mere provision 
market. (Varro, R. R. v. 145.) It 
was surrounded by the principal 
public buildings and offices of state, 
courts of justice, basilicas, places of 
worship, and spacious colonnades 
of one or more stories, in which the 
merchants, bankers, and money 
dealers had their counting houses, and 
transacted their business. (Vitruv. 
v. I. 2.) Of the famous Roman 
forum nothing now remains but the 
ruins of some of the edifices which 
stood in or around it, still rising in 
solitary grandeur on the spot, or 
interspersed amongst the modern 
buildings which encumber the site. 
Its former level lies buried beneath a 
depth of twelve or fourteen feet of 
earth and rubbish, so that the very 
site it occupied, its bearings and di- 



FOR UM. 



299 



mensions, form one of the most dis- 
puted points of Roman topography. 
But the excavations of Pompeii have 
opened the Forum of that city, the 
remains of which are sufficiently 
circumstantial to enable us to trace 
the ground-plans of the various edi- 
fices surrounding it, and to assign 



some probable use to each of them ; 
and will thus afford a general notion 
of the usual appearance of these places, 
and of the manner in which they 
were laid out. The central area is 
paved with large square flags, on 
which the bases for many statues still 
remain, and surrounded by a Doric 




colonnade of two stories, backed by 
a range of spacious and lofty build- 
ings all round. The principal en- 
trance is through an archway ( for- 
nix) (A), on the left-hand corner of 
the plan, and by the side of a temple 
of the Corinthian order (b), supposed 
to have been dedicated to Jupiter. 
On the opposite flank of this temple 
is another entrance into the Forum, 
and by its side the public prison (car- 
eer) (c), in which the bones of two 



men with fetters on their legs were 
found. Adjacent to this is a long- 
shallow building (d), with several 
entrances from the colonnade, sur- 
mised by the Neapolitan antiquaries 
to have been a public granary (hor- 
reum). The next building is another 
temple of the Corinthian order (e), 
dedicated to Venus, as conjectured 
from an inscription found on the 
spot. It stands in an area, enclosed 
by a blank wall and peristyle, to 



3°° 



FORUM. 



FOSSOR. 



which the principal entrance is in a 
side street, abutting on the Forum, 
and flanking the basilica (f), beyond 
which there are three private houses 
out of the precincts of the Forum. 
The further or southern side of the 
square is occupied by three public 
edifices (g, h, I), nearly similar to 
one another in their plans and dimen- 
sions. All these have been deco- 
rated with columns and statues, 
fragments of which still remain on 
the floor ; but there are no sufficient 
grounds for deciding the uses for 
which they were destined. The first 
is merely conjectured to have been a 
council chamber (curia) ; the second, 
the treasury (<zrariuni) ; and the last, 
another curia. Beyond these is an- 
other street, opening on the Forum ; 
and, turning the angle, are the remains 
of a square building (k), for which 
no satisfactory use can be suggested. 
The space behind is occupied by the 
sites of three private houses. The next 
object is a large plot of ground (l), 
surrounded by a colonnade ( porticus) 
and a cloister (crypta), and decorated 
in front, where it faces the Forum, 
by a spacious entrance porch or ves- 
tibule (c/ia/cidicum), all of which we're 
constructed at the expense of a female 
named Eumachia. Beyond this is a 
small temple (m) upon a raised base- 
ment, attributed by some to Mercury, 
by others to Quirinus ; and adjoining 
to it, an edifice (n), with a large 
semicircular tribune or absis at its 
further extremity, supposed to have 
been a meeting-hall for the Augustals, 
or a town-hall (senaariiim), for the 
Pompeian senate. The rear of both 
these structures is covered by the 
premises belonging to a fuller's es- 
tablishment \fulfonica). The last 
structure (o) is a magnificent build- 
ing, with various appurtenances be- 
hind it, commonly called the Pan- 
theon, from twelve pedestals placed 
in a circle round an altar in their 
centre, supposed to have supported 
the statues of the Dii Magni, or 
twelve principal divinities ; "but the 



style of the decorations, and the sub- 
jects of the numerous paintings which 
ornamented its walls, afford consider- 
able weight to another ingenious con- 
jecture which has been hazarded, that 
it was a banquetting-hall belonging 
to the Augustals. 

4. (Perhaps invoX^riov). A parti- 
cular part of the press-room, where 
wine or oil was made. Varro, i. 54. 
2. Columell. xi. 2. 71. Id. xii. 18. 3. 
In all these passages, it is enumerated 
with the presses and other instru- 
ments and vessels employed in the 
operation ; and the name would be 
well adapted to the parts marked H H 
on the plan of the press-room exca- 
vated at Stabia, which illustrates the 
word Torcularium. 

FORUS. Same as Forum. Lu- 
cil. Sat. iii. 23. Gerlach. Pompon. 
ap. Non. p. 206. 

2. Forus aleatorius. A dice-board. 
Suet. Aug. 71. Senec. Cons, ad Po- 
lyb. 36. 

FOSSOR {6pvicTT)c). An excava- 
tor (Inscript. ap. Murat. 1970. 3.) ; 
or a miner (Stat. 
Theb. ii. 418.) ; 
i. e., a labourer 
who digs out 
or deep into, 
the ground with 
a sharp-pointed 
instrument, like 
the mattock (do- 
labra fossoria), 
as shown by the 
annexed illus- 
tration, which 
represents an 
excavator at 
work amongst 
the Roman catacombs, from a sepul- 
chral painting of the Christian era. 
The lamp at his side indicates that 
the scene of his operations is laid 
underground. 

2. {oKcttpsvc, oKairavtvq). But as the 
excavator made use of thespade (pa/a) 
to clear away the soil which had been 
loosened by his mattock (dolabra), the 
word is also employed to designate a 




FRA CES. FRIGID ARI I T M. 



digger, or agricultural labourer, who 
turns up or trenches the ground 
with a spade, (Virg. Georg. ii. 264. 
Pallad. i. 6. 11. Alciphr. Ep. iii. 
38'), in the manner shown by the 




annexed example, from a painting of 
the same description as the last. 

FRACES ((TTs/Kfinyn). The husks 
of the olive, after the juice had been 
extracted by bruising and squeezing 
the fruit. Cato, /?. R. 56. 2. Id. 67. 2. 

FRAM'EA. The spear used by 
the Germans, which had a short, but 
very sharp iron head, and was em- 
ployed both as a pike at close quar- 




ters, and as a missile for hurling 
(Tac. Germ. 6.), in which manner it 
is used by the annexed figure, repre- 
senting a German warrior, on the 
column of Antoninus. 

FRENUM. {xaXnws). A horse's 




l>ridle, including the bit, head-piece, 



and reins. (Cic. I lor. Virg.) The 
example is copied from the arch ot 
Septimius Severus. 

FRIGID A'RIUM. A cool place 
or larder for preserving meat. Lucil. 
Sat. viii. 7. Gerlach. 

2. One of the chambers mentioned 
by Vitruvius, as connected with the 
bathing department of a gymnasium 
(Vitruv. v. 11. 2.) ; the actual use 
and precise nature of which he does 
not state, nor is it easy to determine. 
However, it was certainly distinct 
from the cold-water bath (frigida la- 
ratio ), with which it is enumerated, 
but situated in an opposite angle of the 
edifice, and adjoining the oiling room 
(elceot/iesium), precisely as represented 
in a painting from the Thermae of 
Titus, introduced at p. 142. Reason- 
ing from analogy and the sense in 
which the term is used by Lucilius 
(see No. I.), we might fairly conclude 
that it was a chamber which did not 
contain a bath, but was merely kept 
at a low temperature, in order to 
brace the body after the exhaustion 
of the Laconicum, or vapour bath, by 
a process less violent than that of 
plunging immediately into cold water 
— a common practice amongst the 
ancients. The difficulty experienced 
in attempting to establish a distinction 
between the tw 7 o expressions fiigida- 
rium and frigida laratio, in the pas- 
sage of Vitruvius above cited, has 
induced Marini, and Professor Becker 
with him, to alter the former reading 
into tepidatium ; but the painting 
referred to, from the Thermse of 
Titus, which shows a frigid arium 
adjoining the elaeothesium, as Vitru- 
viusdmects, seems sufficient to establish 
the original reading as the genuine one. 

3. Ahenum, or ras. The vat or 
cistern containing cold water in a set 
of baths. (Vitruv. v. 10.) The in- 
genious manner in which the ancients 
uniformly contrived to arrange the 
different coppers and vats required 
for the supply of their baths, so as to 
incur the least possible waste of water 
and fuel, is very clearly exhibited 



FR I TIL L US. F UC US. 



by the annexed woodcut, from a 
painting in the Thermae of Titus at 
Rome. The boiler for the hot water 
(caldarium) was 
placed immedi- 
ately over the fur- 
nace ; above that 
or at a greater 
elevation from the 
fire, was another 
copper {tepida- 
rium), which im- 
mediately supplied 
the vacuum created 
in the boiler as the 
hot water was 
drawn off, by an 
equal quantity of 
fluid already raised 
to a moderate temperature ; and was 
itself, in like manner, filled up di- 
rectly from the cold cistern (frigida- 
rium), which, as shown by the en- 
graving, was completely removed 
from the heat of the furnace. 

FRITIL'LUS (^os). A dice- 
box : of similar construction to those 






still in use, with graduated intervals 
on the inside to give the dice a rota- 
tory motion during their descent, as 
shown by the annexed example and 
section of an original found in an 
excavation at Rome. Juv. xiv. 5. 
Mart. iv. 14. Id. xiv. 1. 

FRONS. Applied to books ; 
mostly in the plural, frontes gemince 
(Ov. Trist. i. 1. 
II. Tibull. iii. I. 
13.) ; the two out- 
side surfaces or 
bases of a roll of 
papyrus, &c. when 
it was rolled up so 
as to form a volume (volumen), and 
which were smoothed and polished 





with pumice stone, and dyed black, 
when the roll was completed. The 
illustration represents a box of books, 
from a Pompe : an painting, in which 
there are eight rolls, each with one of 
their /routes uppermost. 

FRONT'ALE (a/*7r»<£). A front- 
let, or head band, placed across the 
foreheads of horses 
(PI in. H. N. xxxvii. 
74.), as seen in the 
annexed example 
from a fictile vase. 
It sometimes con- 
sisted of a plate of 
gold (Horn. //. v. 
358.), and, amongst ^ 
persons of regal state, was often en- 
riched with precious stones. Plin. /. c. 

2. The Greek writers also make 
use of the same 
word to designate a 
l>andeau placed in a 
similar manner over 
the forehead of fe- 
males, more espe- 
cially of Divinities 
(Horn. //. xxii. 469. 
Hes. Theog>i. 916.); 
the annexed woodcut, 
vase. 

3. (7rcojUfrtt)7rj'0(O)'. Gloss. Vet.) A 
plate of metal placed as a defence 
over the forehead and frontal bone of 
horses belonging to the heavy cavalry 
of the Greeks and Romans. (Arrian 
Tact. p. 15. Xen. Cyr. iv. 1. Id. 
A nab. i. 7.) This practice was in- 
troduced by the Medes or Pei-sians; 
and elephants, when caparisoned for 
action, were provided with a defence 
of the same nature. Liv. xxxvii. 40. 

FUCA'TUS. Rouged or painted, 
as explained in the next paragraph. 

FUCUS (0neos). Rouge ; an ar- 
ticle frequently employed by the 
Greek and Roman women, as it is by 
those of modern Europe, in order to 
give the appearance of a brilliant or 
youthful tint to a complexion already 
used up or naturally sallow. (Plaut. 
Most. i. 3. 118. Prop. ii. 18. 31.) 
It was prepared from a" certain kind 




as shown in 
from a fictile 



FULCRUM. 



FULL ONICA . 



3°3 



of moss {Lichen rocella L.), and was 
laid on with a brush, as in the an- 
nexed example from a fictile vase ; 




or Math the finger, as exhibited in 
other designs of the same nature. 

FULCRUM. A stay or support 
upon which any thing vests ; as a 
staff or walking-stick (Ovid. Pont. iii. 
3. 14. Baculus) ; the foot of a sofa, 
couch, orbed (Suet. Claud. 32. Prop, 
iv. 8. 68. Clinopus), whence some- 
times put for the bed itself (Prop. iv. 
7. 3.) ; and, in later times, the high 
pummel in front of a riding-saddle, 
made upon a tree. (Sidon. Apoll. Ep. 
iii. 90. Sella equestris.) 

FULLO (ic>a<ptvc). A fuller, a 
cleaner and scourer of cloth. (Mart, 
xiv. 51.) The fullers, who formed 
a very important body of tradesmen, 
were extensively em- 
ployed in the same 
capacity as are our 
washerwomen, for 
cleaning and whiten- 
ing garments after 
they had been worn ; 
an operation which 
was effected by tread- 
ing the clothes in 
large vats of water 
mixed with urine (Plin. H. N. xxviii. 
18), collected from vessels exposed 
in corners of the streets for the pur- 
pose. (Mart. vi. 93.) The cloth 
was then dried and bleached upon a 
semicircular frame (eavea viminea), 
placed over a pot of sulphur ; after 
which it was hung up, and had the 




nap loosened and laid with brushes, 
or with a thistle (cardo fullonicus), 
from which it was removed to the 
press ( prcssorium), where it was 
finally smoothed and condensed by 
the action of a screw. The illustra-. 
tion represents a fuller at work in his 
tub, from a painting in the Fullonica 
at Pompeii 

FULLO'NICA and FULLO'- 
NIUM (KraQtlov.) A fuller's wash- 
house and premises. (Ulp. Dig. 39. 
3. 3. Ammian. xiv. n. 31.) An 
extensive establishment of this kind 
has been excavated at Tompeii, of 
which the ground-plan is annexed, as 
it will serve to convey a very accurate 
notion of the numerous conveniences 




required for conducting the different 
processes of the business, and the 
manner in which they were applied. 
A. The principal entrance from the 
main street. B. The porter's lodge. 
C. The impluvium, like that in or- 
dinary houses, surrounded by a colon- 
nade, supported by twelve square pil- 
asters, upon one of which the figures 
of fullers at work, represented in the 
last and following wood-cut, are pain- 
ted. D. A fountain with a jet of water, 
a representation of which is introduced 
under the wore Sipho. e. A spacious 
apartment, opening upon the peristyle 
or courtyard of the premises, and 
perhaps used for drying the clothes. 
F. A tablinum, with a room on each 
side of it, where customers were pro- 



FULLONICA. 



FUMARIOLUM. 



bably received, when they came upon 
business. G. A closet or wardrobe, in 
which the clothes were deposited after 
they had been scoured, and kept until 
called for ; the marks of the shelves 
are still visible against the walls. 
H. An adjoining room ; the first on 
the right "hand, which is within that 
part of the premises where the active 
operations of the trade were carried 
on. I. The large wash-house with a 
tank, where the clothes were cleansed 
by simple washing and rinsing. K. 
The place where the dirt and grease 
were got out by rubbing and treading 
with the feet. llllll. Six niches 
constructed on the sides of the room, 
and separated from one another by low 
walls, about the height of a man's arm- 
pits, in each of which was placed a tub 
where the fuller stood, and worked out 
the impurities of the cloth, by jumping 
upon it with his bare feet, an operation 
which he effected by raising himself 
upon his arms, while they rested on 
the side- walls, in the manner exhibited 
by the annexed engraving from one 




of the pictures above mentioned, 
MMM. Three smaller tanks, either 
for washing, or, more probably, in 
which the clothes were left to soak 
before they were washed. N. A 
fountain or well for the use of the 
workmen. O. A back gate opening 
on a small street, contiguous to that 
portion of the premises in which the 
active part of the trade was performed, 
pp. Rooms for which no particular 
use connected with the trade can be 



assigned. Q. The furnace of the 
establishment. R. An apartment con- 
tiguous to the furnace. s. Stairs 
ascending to an upper story. ttt. 
Apartments opening upon the peri- 
style, painted in fresco, and probably 
appropriated for the use of the master 
and mistress of the establishment. 
The rooms at the bottom of the plan, 
without references, are shops facing 
the street, and belonging to other 
tradesmen, as they have no connection 
nor communication with the Fullonica. 

FULLO'NIUS or FULLO- 
NICUS. Applied to any of the im- 
plements or articles used by fullers ; as 
pila or creta fullonica (Cato R.R. x. 5. 
Plin. H. N. xvii. 4.), fuller's earth ; 
saltus fidlonius (Seneca Ep. 15.), the 
jumping and stamping which fullers 
practise in scouring clothes, as repre- 
sented by the last woodcut, and ex- 
plained by the text which accom- 
panies it. 

FULMEN'TA {Kaaav\xa). All 
abbreviation of fulcimenta, used to 
designate a thick, or probably extra, 




I sole attached to a shoe or boot. (Lucil. 
I Sat. xxviii. 40. Gerlach. Plaut. Trin. 
I iii. 2. 94.) In the example, from a 
! Greek statue of Minerva, three soles 
! are observable, one above the other, 
which, when thus conjoined, are 
termed fubnentce, in contradistinction 
to the ordinary sole of one piece {soled), 
for in the passages where the word 
occurs, it is constantly used in the 
plural number. They were made of 
cork, and were employed by the 
Greek and Roman ladies as a protec- 
tion against damp in winter, as well 
as from motives of vanity, to give 
them an appearance of being taller 
than they really were. Plin. H. N. 
xvi. 13. 

FUMA'RIOLUM. Diminutive of 



FUMARIUM. 



F UNA MBULUS. 



305 



the next word. The vent or aper- 
ture in a volcanic mountain, through 
which the smoke and vapour make 
their egress. Tertull. Peru. 12. 

FUMA'RIUM. The smoke-room ; 
a chamber in the upper part of a 
house in which the smoke from the 
kitchen fires, or from the furnaces of 
the bath-rooms, was allowed to collect 
itself before finding a vent into the 
air ; and which was also used as a 
storeroom for ripening wine (Mart, 
x. 36. Compare Hor. Od. iii. 8. 11.) ; 
and for drying the moisture out of 
wood, in order to make it fit for fuel. 
Columell. i. 6. 19. 

F U N A' L E. A link, torch, or 




taper, made of the papyrus, or the 
fibres of other plants twisted together 
like a rope [funis), and smeared with 
wax or pitch, as exhibited in the an- 
nexed woodcut, from a sepulchralmar- 
1)1 e preserved in the church of Santa 
Giustina, at Padua. Isidor. Orig. xx. 
10. 5. Cic. Sen. 13. Virg. Mn, i. 731. 

2. A contrivance for holding torches 
of this description, upon which many 
of them were lit and burnt at the 
same time, like our chandeliers. Isidor. 
Orig. xx. 10. 5. Ov. Met. xii. 247. 

FUNA'LTS sc. Equus (-rapaoupoc, 
atipacpopot, iraprjopot). An out- 
rigger to a carriage drawn by 
horses abreast. (Stat. Tkeb. vi. 462. 
Isidor. Orig. xviii. 3v fiDiarius.) 




When the carriage had four hoi 



attached, there were two out-riggers, 
one on each side of the yoke-horses 
[jugales); and then the one on the 
right , or off horse, was called dexter 
funalis (cttiuotipoc) ; the left hand 
one, or near horse, sinister or ttevus 
Junalis (Suet. Tib. 6. Au?>ox\. Epitaph. 
xxv. 9.). The illustration, which is 
copied from Ginzrot, ( Wagen und 
Fahiwerke. T. 40.), exhibits a trace 
on the outside horse attached to the 
front of the carriage j or to its axle, 
which in that case must have pro- 
jected laterally much beyond the body 
of the carriage, to afford width for 
the out-riggers. If this trace is not a 
restoration by himself, it is, perhaps, 
the only instance of such an attach- 
ment exhibited on any ancient monu- 
ment. Indeed Isidorus says (1. c.) 
that the most ancient practice was to 
have two poles, and one yoke extend- 
ing across the withers of all four 
horses, and when that custom was 
relinquished, that the out-rigger was 
fastened to the yoke-horse by nothing 
but a brace, {shnplici vinculo), which, 
as it was made of rope, gave rise to 
the term ; and in that manner the 
out-rigger appears to be universally 
represented by the artists of antiquity. 

FUNAM'BULUS {«x™'ofinT m \. 
A rope dancer. (Terent. Hecyr. Prol. 
i. 4. Compare Hor. Ep. ii. I. 210.) 
The illustration, which represents one 
of nine figures, dancing on the tight 




rope, from a painting at Herculaneum 
U 



FUND A, 



FUNDI TORES. 




(all of whom are in different attitudes, 
and exhibiting some individual 
feat), indicates the general degree of 
perfection to which the ancients had 
carried this art, as the figure is play- 
ing upon the double pipes, while he 
dances on the rope to his own music. 

FUNDA (<T<ptrd6)-r)). A sling, for 
discharging stones, or_leaden plum- 
mets (gla rides); a 
weapon common- 
ly used in warfare 
by the Spaniai-ds. 
Persians, Egyp 
tians, and other 
foreign nations ; 
and also occa- 
sionally by the 
Romans, as is 
shown by the 
annexed figure, 
representing a Roman soldier in the 
army of Trajan, from the column 
erected in honour of that emperor. 
Plin. H. N. vii. 37. Virg. Georg. 
i. 309. Serv. ad I. Id. JEn. ix. 586. 
Fund 1 tores. 

2. (un<pif5\r)OTpov). A casting-net ; 
employed, like our own, for taking 
fish in rivers 
(Virg. Georg. i. 
141. Servius ad I. 
Isidor. Orig. xix. 
5. 2.) ; but appa- 
rently cast from 
behind, and over 
the right shoulder 
(instead of being- 
discharged from 
the left shoulder, 
and in front of the 
person throwing it, as is now the prac- 
tice) ; that is if the annexed figure, | 
from a mosaic in the Thermae of j 
Titus, affords a faithful representation 
of the manner in which it was J 
thrown. The expression of Virgil, 
however, verberat amnem, gives an j 
exact description of the manner in } 
which the casting-net falls upon the 
waters. 

3. A bag or pack slung over the 
shoulders, for the convenience of j 




carrying money, or any other small 
articles (Macrob. Sat. ii. 4.) ; pro- 





bably so called because, with the 
straps which fastened it, it had the 
appearance of a sling, as shown by 
the annexed example, from the device 
on a bronze lamp. 

4. {apti'SovT), TrveXig). The bezil of 
a ring ; that is, the rim in which the 
gem is set ; and which holds it as a 
sling does its stone ; 
more especially so 
called when the set- 
ting is transparent, 
or an jour. (Plin. 
H. N. xxxvii. 37. 
and 42.) The example is from an 
original. 

FUNDIB'ALUS and FUNDIB'- 
ALUM. A military engine for dis- 
charging stones, belonging to the class 
of Ballistic ; but the distinctive cha- 
racteristics are unknown, furtherthan, 
as the name implies, that its action 
was that of a' sling. 

FUNDI TO'RES {ap^ov^rai). 
Stingers ; mostly with reference to 
foreign nations. But, amongst the 
Romans, the slingers were a body of 
men selected from the fifth class of 
the Servian census, who were formed 
into a corps, and attached to the levis 
armatura, or light-armed division of 
the army. They were scarcely con- 
sidered as regular troops, being ranked 
in the lowest grade amongst the super- 
numeraries, trumpeters, and band (Li v. 
i. 43.) ; and, consequently, like them, 
wore no body armour, nor any offen- 
sive weapon, besides their sling, (see 
the example s. Funda, 1.). with which 
it was their duty to annoy the enemy 



1-l'XDULA. 



FURCA. 



from any part of the field to which 
they were ordered, (Sal. Jug. 99. 
Val. Max. ii. 7, §§ 9. and 15.) The 
difference between the Accensi, Fun. 
ditores, and Ferentani, who are dis- 
tinguished by Yegetius (Mil i. 20.), 
appears to be this, that the first used 
nothing but their hands for throwing 
stones ; the second employed a sling 
for the purpose ; and the last, who 
were of a higher grade than the other 
two, probably used other missiles as 
well as the sling. 

FUX'DULA. A street which has 
no thoroughfare ; a cut de sac (Varro, 
L. L. v. 145.) ; one of which is repre- 
sketch bv the annexed view, taken in 




the town of Pompeii. The street 
terminated in a house, of which some 
remains are visible in the engraving, 
and two small sewers are indicated 
underneath it. 

F U X D U L U S. The piston and 
sucker of a hydraulic organ, which 
moves up and down (hence termed 
ambulatilis), like the sucker of a 
pump (embolus). Yitruv. x. 8. I. 

FUXERE'PUS. (Apul. FJor. \. 
5. Ib. iv. 18. § I.) Same as Funam- 

BULUS. 

FUNUS. A funeral, so termed 
because, in ancient times, the Romans 
were always buried by torch light, 
twisted ropes (funalia) smeared with 
pitch being carried by the mourners 
for the purpose. (Isidor. Otig. xi. 2. 
34. Donat ad Terent. Andr. i. 1. 
81.) Subsequently, however, the 
practice of night burial was confined 
to the poorer classes, who could not af- 
ford the expense of a pompous display. 

2. Fuiius publicum, or indicthum. 
A grand and public funeral, celebrated 



in the day-time, and to which the 
public were invited by proclamation, 
to witness the gladiatorial shows and 
military pageants often displayed upon 
such occasions. Tac. Ann. vi. II. 
Cic. Leg. ii. 24. Festus s. v. 

3. Funus gentilitium. A funeral, at. 



which tl 



and images of cele- 



brated characters belonging to the 
same clan (gens) as the deceased, were 
carried in the procession. (Plin. H. yY 
xxxv. 2.) This was the usual kind 
of funeral assigned to persons of dis- 
tinguished rank or ancient lineage : 
] and a description of the other customs 
! and ceremonies which mostly accom- 
1 panied it, will be found under the 
term Exsequi^. 

4. Funus taciturn, or translaiiiiunu 
An ordinary or common funeral, con- 

i ducted without any pomp or show, 
I such as was usual with private indi- 
I viduals of the middle and poorer 
j classes. Suet. Nero, 33. Ov. Trist, 
i~3- 22. 

5. The funeral pyre. Suet. Don. 
15. Pyra, Rogus." 

6. A dead body or corpse (Prop, u 
! 17. 8.) ; whence also the ghost 01 
I shade of a deceased 

person (Prop. 



II. 



:.), which tin 



ancient artists were 
accustomed to re- 
present in a corpo- 
real form, shrouded 
in grave clothes, 
but endowed with 
the powers of mo- 
tion ; as shown by 
the annexed figure, 
from a bas-relie:". 
representing a fe- 
male whom Mer- 
cury, in the original, is conducting 
to the shades below. 

FURCA (cUoavor). A two- 
pronged fork, such as a stable-fork, 



hay-fork, pitch-fork. (Virg. Geofg. i. 
264. Hor. Ep. i. 10. 24. ) The an- 




308 



FURCA. 



FURNACE US. 



nexed example represents the iron 
head of a hay-fork, supposed to he 
Roman, hut certainly of great anti- 
quity, which was dug out of a bog 
forming the bank of the old river at 
the junction of the Xen at Horsey, 
near Peterborough. 

2. A fork with a long handle to it, 
employed in taverns, kitchens, and 
larders, for the purpose of taking down 
provisions from the cai"nariu?n (Pet. 
Sat. 95. 8.), which was fixed to the 
ceiling, by sticking one of the branches 
into the object, or putting it under 
the loop by which it was hung upon 
its hook (see the illustration s. CaR- 
NARIUM) ; resembling, no doubt, the 
instrument which our butchers use 
for taking down a joint of meat, and 
other tradesmen whose articles are 
hung out of reach. From the ex- 
pression of Petronius, furca de car- 
nario rapta, it would appear that an 
instrument of this kind was usually 
suspended from the carnarium, ready 
for use. 

3. Anything made in the shape of 
a fork, to be used for a prop or stay ; 
as a prop for vines (Virg. Georg. ii. 
259.); for fishing-nets (Piin. H.A\ 
ix. 9.) ; for supporting planks to 
stand on. Liv. i. 35. 

4. ((TrPjniy^, (TTTjoiyna). The pole 
of a cart or of a carriage : or rather 
that part of it which fastens into the 
axle, when it was made with two 
branches, like a fork, as it appears in 
the annexed example, from a Pompeian 




painting. (Plutarch, Coriol. 24. Lysias 
up. Poll. x. 157.) It likewise appears 
from the above passages that the same 
name was also given to the trestle 
upon which the pole of a two-wheeled 
carriage was sometimes supported 
w T hen the horses were taken out, like 



the one wc use to rest the shafts of our 
gigs iipon. 

5. An instrument made with two 
wooden handles or prongs, like a 
fork, ^employed for r — - 



the neck, in the man- 
ner shown by the an- 
nexed woodcut, from 
the Column of Trajan 
(Plaut. Gas. ii. 6. 




37.). It was also ^Yx 
frequently adopted as ^ 
an instrument of punishment for free- 
men and slaves, when the arms of the 
culprit were tied down to the bars 
of the fork, while he was flogged 
through the streets. Plaut. Pers. v. 
2. 73 Liv. i. 26. Suet. Nero, 49. 

6. A contrivance for the infliction 
of capital punishment, on which slaves 
and robbers were hung ; a gallows or 
gibbet. Callist. Dig. 48. 19. 28. Paul. 
Dig. 33. Ulp. ib. 13. 6. 

FUR'CIFER. Literally, one who 
carries burdens on a furca, as shown 
by the preceding illustration ; or who 
bears the furca as a punishment. 
But as this penalty was for the most 
part inflicted upon the unfortunate 
slave class, the word is commonly 
used as a term of contempt, equiva- 
lent to our slave, villain, gallows- 
bird. Plaut. Amph. i. I. 132. Ter. 
Etm. v. 2. 22. Cic. Vatin. 6. 

FURCIL'LA. Diminutive of 
Furca. A small fork, but still of 
considerable size, according to our 
notions ; as a hay- fork (Varro, R. R. 
1. 49. I. Cic. Ait. xvi. 2.); a vine- 
prop, two feet high. Varro. ib. i. 8. 6. 

FUR'CULA. Diminutive of 
Furca ; but applied to objects of con- 
siderable size ; as a wooden prop, 
made use of to support the walls of a 
town which were mined underneath. 
Liv. xxxviii. 7. 

FURFURAC'ULUM. A gimblel 
(Arnob. vi. 200.) ; so termed because 
it makes dust like bran ( furfur) ; but 
the more common word is Terebra, 
which see. 

FURNA'CEUS sc. panis. Bread 



FURNARIUS. 

baked in an oven (furmts) ; as contra- 
distinguished from focacius, which 
was baked on the hearth, and clibani- 
cius, which was baked in a clibaims. 
Plin. H. N. xviii. 27. 

FURNA'RIUS. A baker by trade. 
(Ulp. Dig. 39. 2. 24.) Compare 
Coquus. 

FURNUS {Ittvoc). An oven ; for 
baking bread (Plaut. Cms. ii. 5. 1. 
Ov. Fast. vi. 313.), or anything else. 
(Plin. H.N. xx. 39. Id. xxviii. 29.) 
The excavations of Pompeii have re- 
vealed two bakers' shops, with their 
ovens, both constructed upon a simi- 
lar plan, and in a considerable state 
of preservation ; one of which is re- 
presented in the annexed woodcut as 
it now appears, with some of the mills 
for grinding flour in the shop before 
it. The small arch at the bottom 
contained the fuel ; the one above is 




the oven itself, over which there is a 
flue to carry off the smoke. 

2. A baker's shop. (Hor. Sat. i. 
4. 37.) The preceeding illustration 
shows a baker's shop, with some mills 
for grinding flour on the left hand, 
and the oven at the bottom. 

3. A hot air or vapour bath, as 
contradistinguished from balneum, a 
warm water bath. (Hor. Ep. i. II. 
13.) See Caldarium, Sudatio. 

FUS'CINA {rpiaiva). A large 
fork with three or more branches, 
employed by fishermen for spearing 
fish, as represented in the annexed 
woodcut, from a mosaic picture in 
an ancient temple of Bacchus near 
Rome. It was likewise given by 



FUSC INULA. 309 



artists and poets to Neptune instead 
of a sceptre, as the more appro- 




priate symbol for the god of the ocean. 
Cic. N. D. i. 36. and woodcut s. 
Tridens. 

2. A weapon of similar form and 
character, used by the class of gladi- 
ators called Retiarii, with which they 
attacked their adversaries, after they 
had hampered them by casting a net 




over their heads, as exhibited in the 
annexed engraving, from an ancient 
mosaic. Suet. Cat. 30. Juv. ii. 143. 

FUSCIN'ULA. Diminutive of 
Fuscina. A car ving-fork and eat in g- 
fork. (Vulg. Exod. xxvii. 3. ) The 
absence of any express name for 




articles of this description amongst 
the genuine old Greek and Latin 
authors now remaining to us, has 
induced a very general belief that 
the ancients were unacquainted with 
this convenient piece of table furni- 
ture ; though it is well authenticated 
that the use of it was introduced into 



FUSC INULA. 



FUSUS. 



the other countries of Europe from 
Italy, where it was in common use long 
before other nations had learned the ad- 
vantage of such a luxury. (Coryate, 
Crudities, p. 60. London, 1776.) But 
the two specimens here exhibited 
are sufficient to establish the fact of 
forks being employed by the ancients 
at least partially, and for the same 
purposes as they now are, although 
the positive name by which they 
were called may not have been dis- 
covered. The first represents a two- 
pronged silver fork found in a ruin 
on the Via Appia (Caylus, Recueil, 
iii. 84.) ; the other, with five prongs, 
one of which is broken off, resem- 
bling our silver forks, in a tomb at 
Paestum and is now preserved in the 
Museum at Naples. The authenticity 
of the first has been doubted by those 
who are unwilling to admit that the 
ancients were acquainted with such 
contrivances (Beckman, Hist, of In- 
ventions, ii. pp. 407 — 413. London, 
1846.) ; and it is certainly possible 
that Count Caylus may have been im- 
posed upon by the person from whom 
he purchased it ; though the tasteful 
character of the article affords an 
evidence of its genuineness, corre- 
sponding as it does with the usual 
style of ancient manufactures, in 
which the aits of design were uni- 
versally exerted to embellish even 
the commonest utensils employed for 
the most ordinary purposes of daily 
life ; but the fork from the Psestan 
tomb will not admit of suspicion. 
This same tomb abounded in objects 
of antiquarian interest, and has fur- 
nished more than seven illustrations 
for these pages, several of them 
unique in their kind ; the spear with 
an ansa, at p. 38. ; the gridiron, p. 
212; the fire-dogs, Var.e ; the 
war truncheon, s. Phalanga ; the 
helmet, greaves, belt, and breast- 
plate s. Buccul^:, Ocrea, ClN- 
gulum, 4., Lorica, I. ; besides 
several others of more common 
occurrence. Whether the Romans 
really used the word now under 



illustration to designate an eating- 
fork, may, however, be a matter 
of dispute ; for it certainly has no 
classic authority to rest upon. The 
Greek Kptaypa undoubtedly corre- 
sponds with the Latin harpago, a 
flesh-hook ; furca, fnscina, furcula, 
and furcilla are all applied in the 
passages where they occur to instru- 
ments of much larger dimensions 
than eating- forks ; but the precise 
meaning conveyed by diminutives 
in the Latin language is very varied 
and arbitrary. Certainly, furcula or 
furcilla might have been appropri- 
ately used for a two-pronged fork, 
like the top figure, and fuscinida, or 
fuscinella (which occurs as a cogno- 
men ap. Grut. Inscript. 1141. 1..), for 
one with a greater number of prongs, 
like the lower one. 

FUSO'RIUM. A drain or cess- 
pool from a kitchen sink, &c. Pal- 
lad, i. 37. 4. ib. 17. 1. 

FUSTER'NA. The upper portion 
of a fir pole, which is thick set with 
branches, as contradistinguished from 
the lower part {sapinus), which is 
free from knots. Plin. H. N. xv. 
76. § 1. 

FUSTIB'ALUS. A contrivance 
for throwing stones, consisting of a 
four foot pole, which had a sling 
attached in the centre, and being 
whirled round with both hands, dis- 
charged the stones with great vio- 
lence. Veg. Mil. iii. 14. 

FUSTUA'RIUM (^Xokott/o). 
A punishment inflicted upon soldiers 
for desertion or other serious offences ; 
in which the offender was beaten to 
death with heavy sticks (fustes) laid on 
by his comrades. Liv. v. 6. Cic. Phil. 
iii. 6. Serv. ad Virg. ALn. vi. 825. 

FUSUS {drpaKToc). A spindle; 
usually made of a stick about twelve 
inches in length, and used with 
the distaff {coins), for twisting or 
spinning the fibres of wool or 
flax into thread (Plin. H. N. xi. 
27. Ovid. Met. vi. 22. Tibull, ii. 
1. 64.) ; a process described at 
length under the word Neo. The 



FUTILE. 



GALEA. 



engravim 
/ 




small figure in the 
represents a spindle used 
by Leda in a Pom- 
peian painting ; the other 
two are from an Egyp- 
tian original, the right 
hand showing the in- 
strument before being 
used, the other as 
it would appear 
with the thread 
wound round it. 
after it has been 
twisted. 

FUTILE. A vessel with a broad 
mouth and sharp-pointed bottom, 
like the annexed example, from an 
original found at Rome. This form 
was originally adopted for the ser- 
vice of Vesta, in order that the mi- 
nisters of that god- 
dess might not be 
aide to set it down 
when filled with 
water ; it being con- 
trary to religious 
punctilioes that 
water used in her 
ceremonies should 
ever have stood 
upon the ground. 
Serv. ad Virg. JEn. xi. 339. Donat. 




d Terent. A ndr, 



■ m- 5- 3- 
G. 



GAB' ALUS. A word said to be 
formed from the Hebrew language, 
and equivalent to the Latin Crux, a 
cross or stake upon which criminals 
were impaled (Varro, ap. Non. s. v. 
p. 117.); whence the same word is 
also used to designate a worthless fel- 
low, or one who deserved impalement. 
Macrin. Imp. ap. Capitolin. n. 

GAB' ATA. A particular kind 
of dish for table service, in fashion at 
Rome during the time of Martial ; but 
respecting its characteristics nothing 
is known. Mart. vii. 48. Id. xi. 31. 

G^E'SUM (yalaoi'). A very strong 
and weighty javelin, which appears 
to have been made, both head and 



stock, of solid iron (Pollux, vii. 156.), 
and to have been employed as a mis- 
sile, rather than as a spear (Cses. 
B. G. iii. 4. ), each warrior carrying 
two as his complement. (Varro, ap. 
Non. s. v. p. 555.) The weapon was 
of Gaulish origin (Virg. Alu. viii. 
662.) ; though it was sometimes used 
by the Romans (Liv. viii. 8.), by the 
Iberians (Athen. vi. 106.), the Car- 
thaginians (Liv. xxvi. 6. Sil. Ital. 
ii. 444.), and the Greeks. (Stat. 
Theb. iv. 64.) 

GALBANA'TUS. Wearing gar- 
ments of a yellow dye {galbana). 
Mart. iii. 82. 

GAL'BANUM. A garment of a 
yellow colour ; regarded as a sign 
of foppishness or effeminacy when 
worn by men. Juv. ii. 95. Compare 
Mart. i. 97. 

GAL'EA (icpuVOC, KOpVC, ITfpiKHpa 

\aioc). In its strict sense, this word 
was originally employed to designate 
a helmet of skin or leather, in contra- 
distinction to cassis, which implied a 
casque of metal; but as the latter mate- 
rial was generally substituted amongst 
the Romans instead of leather as 
early as the time of Camillus, the 
original distinction was soon lost 
sight of, and the term galea came 
into common use, signifying any 
kind of hemlet. (Isador. Orig. xviii. 
14. Ov. Met. viii. 25. Virg. sEn. v. 
490.) The annexed illustration pre- 




sents the front and side view of an 
original Roman helmet of bronze 
found at Pompeii, in which city 
several others of similar form and 
character have been discovered. It 
contains all the parts usually belong- 
ing to the ordinary Roman helmet ; 
the ridge at the top of the scull-cap, 



3 I2 



GALEA. 



to which a crest of plumes or horse- 
hair was attached ; a projection in 
front and at the back, to protect the 
forehead and nape of the neck • the 
cheek-pieces, by which it was fast- 
ened under the chin ; and a perfo- 
rated visor, which covered the entire 
face like a mask. The small orna- 
ment- at the side of the head-piece, 
resembling a shell, was intended to 
hold a feather, in the same manner as 
shown by the figure s. SiCARiUS; 

2. The ordinary helmets worn by 
the Roman soldiers on the triumphal 
arches and columns, are of a more 
simple character, being smaller, and 
without visors, but with cheek-pieces, 
and in place of the crest, a knob or 
ring at the top, as exhibited by the 




annexed specimens, from the column 
of Trajan. 

3. The helmets of the centurions 
had the scull-piece of a similar cha- 
racter to those of the soldiery, exhi- 
bited in the last wood-cut ; but were 
furnished with a ridge at the top, 
like that shown by the first wood- 
cut, which was plated with silver, 
and adorned with dark plumes tower- 
ing to a considerable height (Polyb. 
vi. 21.), and placed transversely on 
the ridge (Veg. Mil. ii. 16.), so that 




they drooped forwards all round, in 
the manner represented by the an- 
nexed engraving, from one of the 
slabs on the arch of Constantine, 



which originally belonged to the 
arch of Trajan. 

4. The helmets of the generals and 
superior officers were more elabo- 
rately ornamented, and resembled 
the latter styles of Grecian helmets. 
They are seldom exhibited in sculp- 
ture or painting, as great personages 
are for the most part represented 
bareheaded. 

5. Galea pellibus tecta. The stand- 
ard bearers on the arches and co- 
lumns are universally represented as 
Vegetius describes them {Mil. ii. 16.), 
with a close scull-cap, over which the 
head and skin of some wild beast is 
drawn, so that the face appears 
through the gaping jaws, and nothing 
of the helmet is seen, except the 




cheek-pieces on the sides of the face ; 
as shown by the annexed example, 
from the column of Trajan. 

6. Galea venatoria. A scull- cap 
of leather and of fur, worn by hunts- 
men (Nepos, Bat. 14. 3.), like the 
examples s. Cudo and Galerus, I. 

7. (avXunric). The old Greek 
helmet of the heroic ages was of a 
very different character to any of 
those yet described, being made with 
an immovable mask to fit the face, 
leaving only two holes for the eyes, 
so that when pulled close down, it 
entirelv covered and concealed the 




visage, whence galeis abscondunt oras. 
(Sil. Ital. xiv. 656. Compare Stat. 
Theb. xi. 373.) The illustration re- 
presents two helmets of this descrip- 



GALEA. 



GALE R US. 



3 T 3 



tion, both from fictile vases ; the one 
on the left drawn down over the 
face, the other as it was worn when 
pushed back, before or after an 
action. 

8. The form last described soon 
fell into disuse on account of its in- 
convenience, and then the regular 
Greek helmets were constructed upon 
a model generally resembling the an- 
nexed examples, from fictile vases, 
and consisted of the following indi- 
vidual parts ; — Kihvoq (apex), the 
ridge on the top of the head-piece, to 
which the crest was affixed ; XoQoq 
[crista), the crest, consisting of horse 
hair, and sometimes two or three 
of these were worn, as in the right- 




hand figure ; ynaov, a projection 
over the front of the face like a pent, 
sometimes moveable, but more usu- 
ally fixed ; wapaypaOiSsg {bucculte), 
cheek-pieces, attached to each side of 
the casque by hinges, and fastened 
under the chin by a clasp or a button ; 
(pd\oc, a bright ornament, generally 
formed by some figure in relief, 
which was affixed to different parts 
of the helmet. In the right-hand 
.figure the QaXog consists of two 
griffins, one on each side of the ridge ; 
such a helmet was thence termed 8i- 
(pdXng : in other specimens the crest 
itself is supported upon a similar 
figure, in the manner described 
by Homer (//. xiii. 614.), just under 
the plume ; and sometimes they are 
seen projecting in very bold relief, 
over the front and round the sides 
of the casque, as in the colossal statue 



of Minerva, when the helmet was 
termed dp^KpaXoc, and the <pdXui in 
such cases, when sufficiently large, 
would touch each other, as mentioned 
by Homer, 77. xiii. 132. Id. xvi. 216. 

GAL'EOLA. A large vessel used 
as an Acratophoron, to hold the 
wine before it was mixed for drinking 
at table (Varro, de Fit. Pop. Rom. 
ap. Non. p. 547. Interp. Vet. ad 
Virg. Eel. vii. 33.) ; evidently so 
termed from being made in a deep 
and circular form like a helmet. 

GALERIC'ULUM. Diminutive 
of Galerum ; both in the sense of a 
fur cap (Frontin. Strateg. iv. 7. 39.) ; 
and a wig. Suet. Ot/w, 12. 

GALERITUS. Wearing a fur 
cap [galerus), like the early inhabi- 
tants of Latium ; and thence, by 
implication, in rude or rustic attire. 
Prop. iv. i. 29. 

GALE'RUS and GALE'RUM 
(icvvkr)). A scull-cap made from 
the skin of ani- 
mals with the fur 
left on ; worn hy 
rustics (Virg. Mo- 
ret. 121.) ; hunts- 
men (Grat. Cyneg. 
339.) ; and by the old inhabitants of 
Latium, instead of a helmet. (Virg. 
JEn. vi. 688.) The example is given 
by Du Choul (Castramet. p. 100.), 
from a Roman monument. 

2. A fur cap of similar character, 
worn by the Pontifices (Apul. Apol. 
p. 441.), and the Salii (Juv. viii. 208.), 
made out of the skin of a victim 
which had been 
slain at the altar, 
and having a spike 
of olive wood, sur- 
rounded by a flock 
of wool, on the top 
(Serv. ad Virg. 

ii. 683.) ; 
which adjuncts, as they increased the 
apparent size of the object, will explain 
why Juvenal characterises it as <; tall," 
in accordance with the illustration 
annexed from a medal of M. Antony. 

3. A wig of artificial hair ( Juv. Vi 





314 



GALL I CM. 



GAME A . 



1 20. Avian, Fab. x.), sewn on to a 
scalp, in order to fit the head in the 
same manner as still practised. 
(Tertull. de Cult. Feem. Suet. Otho, 
12. Compare Ov. A. Am. hi. 165.) 
Many of the female busts, and even 
some of the portrait statues, preserved 
in the Vatican and Capitol, are fur- 
nished with a moveable scalp, some- 
times executed in a different-coloured 
marble from the rest of the statue, 
so that it could be taken off and 
changed at pleasure ; of which an 
instance is afforded by the annexed 
bust from a statue of Julia Soemias, 
the mother of the Emperor Helioga- 
balus. The entire scalp representing 
hair is removeable, with the excep- 
tion of the two tresses on the shoul- 




ders, which are carved out of the 
solid block of marble. Some anti- 
quaries are of opinion that these 
scalps were intended to represent 
wigs, and infer from thence that it 
was the fashion at Rome for females 
of all ages to shave off their own 
hair, and wear an artificial peruke, 
at the period when these busts were 
executed ; but it is far more reason- 
able to attribute the practice to the 
frivolous and ever changing modes 
of the day, and to recognise in them 
an expedient resorted to by sculptors, 
in order to gratify the vanity of their 
patrons, who, being unwilling to see 
their own portraits in a head-dress 
which was no longer in vogue, could 
by this means alter the coiffure with 
the change of the day, without dis- 
figuring or mutilating the statue. 

GALLTC^E. A pair of Gaulish 
shoes ; the original of the French 
"(iloches and of our galoshes. They 



were low shoes, not reaching quite so 
high as the ankle, had one or more 
thick soles (Edict. Dioclet. p. 24.), 




and small upper leather, which was 
entirely open over the front of the 
instep, like the modern galosh, and 
the right-hand figure in the cut ; or 
laced in front, and fastened by a liga- 
ture round the top, as in the left-hand 
example ; whence they are classed 
amongst the soleec by the Latin 
writers, to distinguish them from 
the regular calcei, which were close- 
fitting high-lows that completely 
enveloped the foot and ankle. Thev 
were partially adopted at Rome be- 
fore the age of Cicero, and were 
worn Math the lacerna ; but such a 
style of dress was regarded as inde- 
corous and anti-national. (Cic. Phil. 
ii. 30. Aul. Gell. xiii. 21.) Under 
the empire they came into more 
common use, and were made for ali 
classes, and of different qualities. 
(Edict. Dioclet. /. c.) Both the spe- 
cimens in the engraving are copied 
from a sarcophagus discovered in the 
Villa Amendola at Rome, in the year 
1830, which represents a battle be- 
tween the Romans and Gauls ; the 
one on the left is worn by a Gaulish 
prince, the other by a captive of the 
same nation. 

GA'NEA or GA'NEUM. An 
eating-house of the lowest and most 
immoral description, at which faci- 
lities were afforded for every kind 
of indulgence, as well as eating 
and drinking. (Suet. Cal. II. Ter. 
Adelph. iii. 3. 5. Liv. xxvi. 2.) A 
receptacle of this kind has been dis- 
covered in the principal street at 
Pompeii, near the entrance to the 
town ; the public room is fitted up as 
a wine shop, and gives admission into 
a back parlour, the walls of which 
are painted in fresco with a variety 



GANEO. 



GENIUS. 



315 



of indelicate subjects, characteristic of 
the purposes to which it was applied. 

G A' N E 0. Literally, one who 
frequents a ganea ; thence a glutton 
(Juv. xi. 58.) ; and, by implication, 
a person of loose and disorderly 
habits, for the indulgence of which 
such places were established. Cic. 
Cat. ii. 4. Tac. Ann. xvi. 18. 

GAR'UM (ydpov). A sauce made 
from the blood and entrails of sea 
fish salted down, like the caviare of 
our day. It was used in a great 
many ways both in the kitchen and 
at table ; and was manufactured of 
different qualities, good, bad, and in- 
different, which accounts for the con- 
flicting terms in which it is spoken 
of, sometimes as a choice delicacy, 
and at others as an inferior kind of 
food. Plin. H. N. xxxi. 43. Hor. 
Sat. ii. 8. 46. Mart. vii. 27. Id. vi. 93. 

GASTRUM. An earthenware 
vessel, with a full swelling body or 
belly ; whence the name. Pet. Sat. 
70. 6. lb. 79. 3. 

GAUL US (yawXof). A large 
round full-bodied vessel, which might 
be put to several uses ; as, a drinking- 
goblet (Plaut. Rud. v. 2. 32.) ; a 
milk-pail (Horn. Od. ix. 223.) ; a 
water-bucket (Herod, vi. 119.) ; &c. 

2. (yauXoc). A particular kind of 
ship, of a round build, with a broad 
beam, and capacious hold (Festus, 
s. v. Aul. Gell. x. 25. 3.), employed by 
the Phoenician merchants and by pi- 
rates, in consequence of its fitness for 
stowing away any quantity of booty. 

GAU'SAPA, GAU'SAPE, and 
GAU'SAPUM {yavaairm). Woollen 
cloth of a particular fabric, introduced 
at Rome about the time of Augustus, 
which had a long nap on one side, 
but was smoother on the other. It 
was used by both sexes for articles of 
clothing, as well as for tablecloths, 
napkins, bed covers, and other domes- 
tic purposes. Plin. H. N. viii. 73. Lucil 
Sat xxi. 9. Gerlach. Ov. A. Am. ii. 300. 
Hor. Sat. ii. 8 11. Mart. xiv. 152. 

2. A wig made of the light flaxen 
hair peculiar to the German races, 



which colour was much prized by 
the ladies of Rome. Wigs of this 
kind were also got up and J< rF% s 
worn by men hired to re- 
present German captives at 
some of the mock tri- 
umphs of the Roman emperors (Pers. 
Sat. vi. 46.), when they decreed 
themselves this honour without 
having subdued the country. The 
figure in the engraving appears on a 
trophy of the column of Antoninus, 
erected to commemorate the victories 
of that emperor over the Germans. 

GAUSAPATUS and GAUSA- 
PI'NUS. Applied to anything made 
of the cloth called gausape. Senec. 
Ep. 53. Mart. xiv. 145. 

GEMELLAR. A particular kind 
of case for holding oil (Columell. xii. 
50. 10.) ; the characteristic properties 
of which are conjectured to consist in 
having twin recipients, side by side, 
instead of a single cavity. 

GENIUS {aya9oSai/.iwr). A good 
spirit, or guardian angel of the male 
sex, believed to spring into being with 
every mortal at his birth, and to die 
i with him, after having attended him, 
i directed his actions, and watched over 
his welfare through life. (Hor. Ep. 
ii. 2. 187. Tibull. iv. 5.) He is re- 
presented as a beautiful boy, entirely 




naked, with the exception of the youth- 
ful chlamys on his shoulder, and 
furnished with a pair of bird's-wings, 
in the manner represented by the 



3'6 



GERRAt. 



GIRGILL US. 



annexed engraving from a painting 
at Pompeii. Compare Junones. 

2. Genius loci. The guardian spirit 
of a place ; for amongst the ancients 
every spot and locality in town or 
country, buildings, mountains, rivers, 
woods, &c, was believed to have its 
own peculiar genius, or presiding 
spirit ; which was portrayed under 
the form of a serpent (Serv. ad Virg. 
^Eu. v. 85. Inscript. ap. Grut. viii. 
4. Prudent, contra Symmach. ii. 
441.) ; consequently images of these 
reptiles are frequently represented 
feeding upon 
an altar ; or, as 
in the example, 
from a painting 
in the Ther- 
mae of Titus, 
with an altar 
between them, 
as a sign to de- 
ter passengers 
from ' : com- 
mitting a nui- 
sance," out of respect 
who presides there. 

3. (KCtlCoCat/MA)!'.) 

Christian v 
the Genius 

spirit, said to be condemned to eter- 
nal punishment, for his pride and 
rebellious conduct. Tertull. ApoL 32. 
Anim. 39. Lact. ii„ 15. 

GERR JE (yippov). Anything 
made of wicker work ; whence trifles, 
trumpery, mere bagatelles. Plaut. Pan. 
i. 1. 9. Ep. ii. 2. 45. 

GER'ULUS. A porter. (Hor. 
Ep. ii. 2. 72. Suet. Cal. 40.) Same as 
Bajulus. 

GESTA'TlO. A part of an orna- 
mental garden or pleasure-ground, 
divided into shady walks and vistas 
of sufficient extent for the proprietor 
and his guests to be carried about 
them for exercise in a palanquin (lec- 
tica). Plin. Ep. v. 6. 17. Id. ii. 17. 13. 

GESTICULA'RIA. A panto- 
mimic actress, who expresses the 
character she has to personate by 
dancing and mimetic action of the 




Amongst the 
iters on sacred subjects, 
is represented as an evil 



hands and feet, but without the use 
of language. Aul. Gell. i. 5. 2. 

GES.TICULA'TOR. A panto N - 
mimic actor, who expresses his part 
by gesticulations and mimetic motions 
of the body, but without speech. Co- 
lumell. i. Ercef. 3. 

GILLO (fiavieaXiov, fiavKctbii;). A 
vessel for cooling wine and water in 
(Poet. Vet. in Antholog. Lat. ii. p. 369. 
Burman.), made of earthenware (Cas- 
sian Instituti iv. 16.), and with a 
narrow neck, which caused the liquid 
to gurgle as it was poured out. Poet. 
Vet. /. c. p. 406. 

GIN'GLYMUS (y/yyX^of). Lite- 
rally, a joint which moves in a socket, 
like the elbow ; thence a hinge (Xen. 
Eq. xii. 6.), the action of which re- 
sembles that of a joint in the human 
frame. The cabinets of antiquities 
contain numerous specimens of these 
contrivances, framed in the different 
patterns in use at this day, and of all 
sizes. Of the two examples here 
given, the top one is from Pompeii, 
the other is preserved in the British 




Museum. The Latin name is not 
met with in any of their writers, and 
consequently requires authority ; but 
the Greek one is undoubted ; and the* 
Romans must have had an appropriate 
name for a hinge, distinct from cardo, 
which expresses a very different object. 

GIN'GRINUS. See Tibia. 

GIRGIL'LUS. The roller turned 
by a windlass, in order to raise water 
from a well by means of a rope and 
bucket ; a contrivance precisely simi- 
lar to those used in most country 
places at the present day, as shown 



C LABIA TORES. 
by the annexed example from a mar- 



GLA DIUS. 



3*7 




'ble sarcophagus of the Vatican Ceme- 
tery. Isidor. Orig. xx. 15. 

GLADIATO'RES ( fiouofid X oi). 
Gladiators. A general name given to 
men who were trained to combat with 
deadly weapons, for the amusement of 
the Roman citizens, at public funerals, 
in the circus, and more particularly 
in the amphitheatres. They were 
selected for the most part from cap- 
tives taken in war, but were sometimes 
slaves, and more rarely freeborn citi- 
zens who volunteered for the occasion. 
They were also divided into different 
classes, with characteristic names, de- 
scriptive of the weapons and accoutre- 
ments they used, or the peculiar mode 
in which they fought ; all of which 
are enumerated in the Classed Index, 
and illustrated under their respective 
titles ; but the annexed figure, repre- 




senting the portrait of a famous gladi- 
ator in the reign of Caracalla, from a 
sepulchral monument, will afford an 
idea of the usual appearance, arms, 



and accoutrements of the ordinary 
gladiator, who was not enlisted in any 
of the special bands. 

GLADIATO'RIUM. The pay or 
wages given to a freeborn person who 
trained and served, as a gladiator for 
hire. Liv. xliv. 31. 
. GLADIATU'RA. The practice 
or art of a gladiator. Tac. A nn. iii. 43. 

GLADTOLUS (Z«pi5iov). Dimin- 
utive of Gladius ; same as Lingula. 
Aul. Cell. x. 25. 

GLADIUS (£<>(,)• Like our 
sword ; in some respects a general 
term, descriptive of a certain class of 
instruments, which admit of occasional 
variety both in size and shape ; but 
more particularly used to designate 
the straight two-edged, cutting and 
thrusting glaives of the Greek and 
Roman soldiery, as contradistinguished 
from the curved and fine-pointed 
swords employed by foreign nations, 
or by particular classes of their own 
countrymen ; all of which were de- 
signated by characteristic names enu- 
merated in the Classed Index, and 
illustrated under their proper titles. 
The Greek £<'0oc had a leaf-shaped 
blade, no guard, but a short cross-bar 
at the hilt, as in the annexed example, 
and the woodcuts at pp„ 146. 148., all 




from fictile vases. It was not more 
than twenty inches long, and was 
suspended by a shoulder-strap {baltcus) 
against the left side, as shown by the 
figure of Agamemnon at p. 73. The 



GLAtfS. 



GO MP H US. 



Romans used a sword of similar char- 
acter to the Greek one until the time 
of Hannibal, when they adopted the 
Spanish or Celtiberian blade (Polyb. 
vi. 23.), which was straight-edged, 
longer and heavier than that of the 



Greeks (Floras, ii. 7. 9.), as will be 
readily understood from the annexed 
example, representing a Roman gla- 
dius in its sheath, from an original 
found at Pompeii. On the triumphal 
arches and columns, the common 
soldiers wear their swords in the 
manner stated by Polybius (/. c), on 
the right side, suspendedbyashoulder- 
band, as shown by the engravings at 
pp. 6. 22. 136. ; the officers wear their 
swords on the left, attached to a belt 
round the waist (cinctorium and wood- 
cut, p. 159. ) ; and the swords of the 
cavalry are longer than the weapons 
of the infantry. 

GLANS (no\v(3dic;). A large 
leaden slug or plummet, cast in a 
mould, and used instead of a stone to 
be discharged from a sling. (Sail. 



Jug. 61. Liv. xxxviii. 20, 21, 29). 
The engraving represents an original 
found at the ancient Labicum ; the 
letters FIR are for firmiter, " Throw 
steadily, or Feri Roma (Inscript. ap. 
Orelli. 4932), " Strike , O Rome ! " 
Others have been 
found in Greece, 
inscribed with the 
figure of a thun- 
derbolt, or AESAI, 
" Take this." 

GLOMUS {to- 
\u7D]). A clew, or 
ball of wool (Hor. 
Ep. i. 13. 14. Lu- 
cret. i. 360. >, or flax 
(Plin. H. N. xxxvi. 
19. § 4.). taken off 
the spindle { fiisus) after it had been 



spun into worsted or thread, and rolled 
up into a ball to be ready for using in 
the loom. The illustration is copied 
from a frieze in the forum of Nerva, 
at Rome, on which various processes 
of spinning and weaving are displayed, 
and represents a young female carry- 
ing a lapful of clews from the spin- 
ning to the weaving department. 

GLUTINA'TOR. Literally, one 
who sticks things together with glue 
(gluten or glutinum) ; whence the 
word is used specially to designate a 
person who practises the art of orna- 
menting books, and preparing the 
sheets for the copyists to write upon, 
by glueing together strips of papyrus 
to make a page, and also the diffe- 
rent pages to make a roll or volume. 
Cic. Att. iv. 4. Lucil. Sat, xxvi. 42. 
Gerlach. 

GNO'MON (yrtofim). 
or pin on a sun-dial which 
marks the hour by the 
shadow it casts (Plin. 
//. .AT ii. 74. Vitruv. i. 
6. 6.), as shown by the 
annexed engraving from 
a silver cup of Greek 
workmanship, discovered 
at Porto cTAnzio, the old Antium. 

GOM'PHUS (76/^oc). Properly 
a Greek word, which signifies a large 
wedge-shaped pin (Schol. Aristoph. 
Ep. 463. Tertull. Apol. 12.) driven 
between two objects, to increase the 
firmness or tightness of contiguous 
members, whence the same term was 
adopted by the Romans to designate 
the large, round-headed, and wedge- 
shaped stones which they used to 
place at intervals between the ordi- 



The index 





Mm 



narv kerb stones bounding the foot- 



GRAB A TULUS. 



GRAB US. 



3*9 



pavements of their roads and streets 
(Stat. Sylv. iv 3. 48.), as shown by 
the annexed engraving, represent- 
ing a part of the road and pavement 
at the entrance to Pompeii. These 
stones are not only shaped like a 
wedge, to produce lateral pressure, 
but are much longer than the other 
ones, and are formed with projecting 
heads, so that they also prevent the 
rest from rising upwards out of the 
level. 

GRABATULUS. Diminutive of 
Grabatus. Apul. Met. 1. pp. 8. 9. 12. 

GRABA'TUS {Kpafiaroq or Kpafi- 
fSaTOc). A small low couch or bed of 
the commonest description (Cic. Div. 
ii. 63. Virg. Morct. 5.), such as was 
used by poor people, having a mere 
network of cords stretched over the 
frame (Lucil. Sat. vi. 13. Gerlach. 
Pet. Sat. 97. 4.), to support the mat- 
trass, precisely as represented by the 




annexed engraving from a terra-cotta 
lamp. 

GRADI'LIS. See Panis, 2. 

GRADUS. A set of bed-steps. 
consisting of several stairs (Varro, 
Z. Z., v. 168.), which were requisite 




when the bedstead was of such a 
I height from the ground that it could 
not be reached by a simple scamnum. 
The illustration represents Dido's 
marriage bed in the Vatican Virgil, 
with a set of these steps at its foot. 

2. A flight of steps leading up to 
the porch {pronaos) of a temple. 
(Cic Att. iv. 1. Virg. JEn. i. 448.) 



In Greek temples it usually con- 
sisted of only three steps ; but the 
Roman architects added a dozen or 
more, and sometimes divided them 
into two flights, as in the annexed 




example from the ruins of a small 
temple in the Forum at Pompeii. In 
all cases, however, the steps were of 
an uneven number, in order that the 
person ascending, who naturally com- 
menced with his right foot, might 
place the same one on the topmost 
step by which he entered the porch 
(Vitruv. iii. 4. 4.) ; the superstition 
of the people leading them to think a 
contrary course ill-omened. 

3. The seats upon which the spec- 
tators sat in a theatre, amphitheatre, 
or circus. (Inscript. ap. Marini. Frat. 
Arv. pp. 130. 23. Compare Tessera 
Theatralis.) These were deep 
steps rising over one another in tiers, 
as shown by the annexed view from 
the larger theatre at Pompeii, in 
which the seats {gradus) , are the 




larger steps ; the smaller ones, run- 
ning direct from the doors of en- 
trance, being only staircases {scalce), 
by which the spectator descended 
until he arrived at the particular 



320 GRsECOSTADIUM. 



GRAPHIUM. 



gradus, on which the place belonging 
to him was situated. 

4. The parallel ridges, like steps, 
on the inside of a dice-box (fritillus), 
for the purpose of mixing the dice 




when shaken, and giving them a dis- 
position to rotate when cast from it 
( Auson. Profess, i. 28.) ; as shown by 
the section in the annexed engraving, 
from an original discovered at Rome. 

5. The lines or wrinkles on the 
roof of a horse's mouth, which re- 
semble those in a dice-box. Veg. 
Vet. i. 22. 11. Ib. 2. 4. 

6. A studied and feminine arrange- 
ment of the hair, when artificially 
disposed in parallel waves or grada- 
tions rising one over the other, like 
steps (Quint, xii. 10. 47.), the same 
as now termed " crimping." Nero is 
said to have had his head always 
dressed in this manner (Suet. Nero, 
51.); and a statue representing that 
emperor in the character of Apollo 
Citharcedus (A/us. Pio-Clem, iii. 4.) 
has the hair parted in the centre, and 
regularly crimped on both sides, like 
a girl's. 

GR^COSTADTUM. Capitol. 
Antonin. 8. Same as 

GR^ECOS'TASIS. The foreign 
embassy ; a building in the Roman 
Forum, near the Comitium, in which 
ambassadors from foreign states were 
lodged at the public expense during 
their mission. (Varro, L. L. v. 155. 
Cic. Q. Fr. ii. 1.) Three magnificent 
Corinthian columns, with a portion 
of their entablature, still standing 
under the north-east corner of the 
Palatine hill, are supposed by some 
antiquaries to be the remains of this 
edifice ; but the style of the architec- 
ture, which presents one of the most. 



perfect models now remaining in 
Rome, is certainly antecedent to the 
reign of Antoninus, to which period 
any ruins of the Grsecostasis, if they 
now remained, must belong, as it was 
! rebuilt by that emperor, after having 
I been totally destroyed by fire. Capi- 
tol. Aiitonin. 8. 

GRALL/E. A pair of stilts made, 
as they still are, with a fork to em- 
brace the foot ; and originally in- 
vented for the actors who personated 
Pan or the satyrs on the stage, in 
order that they might appear with 
the thin and slender legs ascribed to 
these goat-footed deities. Festus, s. 
Grallatores. Varro, ap. Non. p. 115. 
and Capripes. 

GALLA'TOR (KcrXo/Ba/iwr, icaXo- 
fiarrjg). One who walks upon stilts. 
Plaut. Pan. iii. 1. 27. Varro, ap. 
Non. p. 115. and Grall^e. 

GRANA'RIUM. Often used in 
a general sense as synonymous with 
horreum, a granary or magazine for 
storing corn (Varro, P.P. i. 57. Hor. 
Sat. i. 1. 53. ); but more accurately 
distinguished by Palladius (i. 19. 2.), 
as a cell or bin in the general depot, 
which contained a great number of 
these, each destined for the reception 
of a different kind of grain. 

GRAPHIA'RIUM or Graphiaiia 
Theca. A sheath or case for holding 
the sharp-pointed graver {graphium), 
employedforwriting on tablets covered 
with wax. Mart. xiv. 21. Suet. 
Claud. 35. 

GRAPH'IUM (ypa<piov). A sharp- 
pointed instrument, or sort of graver 
made of iron or bronze, employed for 
writing on wooden tablets covered 
with wax. (Isidor. Orig. vi. 9. Ov. 
Am. i. II. 23.) The example repre- 




sents an original between eight and 
nine inches long, found in an excava- 



GREGARIUS. 



GUBERNACUL UM. 



321 



tion at Rome, which is made to open, 
and shut (top figure), and affords 
ample testimony to the truth of the 
anecdotes which speak of persons 
being wounded, even mortally, with 
this instrument. Suet. Cces. 82. Id. 
Cal. 28. Senec. Clem. i. 14. 

GREGARIUS sc. miles. An 
orderly or common foot-soldier of the 
rank and file. (Cic. Plane. 30. Tac. 
Hist. v. 1.) Their accoutrements, of 
course, varied according to the class 
of troops to which they belonged, 
and whether Romans, allies, or auxi- 
liaries. 

2. Gregarius eques. A cavalry 
trooper below the rank of an officer. 
Tac. Hist. hi. 51. 

GREMTUM. A lap; that is, the 
seat or cavity formed by the belly 
and thighs of a person in a sitting 
posture ; upon which, for instance, 
nurses and mothers place their 
children (Cic. Div. ii. 41. Virg. 
JEn. i. 689. Pedo Albin. i. 1 16.) ; 
thence applied in 
a more special 
sense to the lap 
or hollow made 
by raising up the 
lower part of a /, 
tunic or mantle, U>n 
as women do 
their aprons, in 
order to form a 
receptacle for 
holding any- 
thing. (Pet. Sat. 
60. 4.) Thus, 
in strictness, it differs from sinus, 
which was formed over the chest, 
whereas the gremium fell lower down 
and over the belly, as in the annexed 
illustration from a terra-cotta lamp ; 
but this distinction is not always pre- 
served. 

GRI'PHUS {yulfyog and yp77roc). 
Properly a Greek word, denoting one 
of the various kinds of fishing-nets 
employed in Greece (Oppian. Hal. 
iii. 81.) ; but of what precise nature 
is not ascertained. The Romans 
used the same term to designate an 




engine of war ( Not. Tires, p. 126.), 
the characteristic properties of which 
are equally unknown. From some 
analogy with these objects the same 
word was used in a metaphorical sense 
to signify anything doubtful or ob- 
scure, such as a riddle or enigma. 
Aristoph. Vesp. 20. Attl. Gell. i. 2. 2. 

GROMA and GRUMA {yvto^wr). 
An instrument used by land-surveyors, 
engineers, and persons of that class ; 
which was set up as an index for the 
purpose of enabling them to draw 
their lines, or direct their roads per- 
fectly straight to any given point. 
(Non. s. v. p. 63. Hyg. de Limit, p. 
164. Goes.) Hence degrumari, to 
make straight (Lucil. Sat. iii. 15. 
Gerlach.) ; and grumce, the central 
point at which four cross-roads meet. 
Non. /. c. 

GRYPS and GRYPHUS (ypvf). 
A griffin ; a fabulous animal (Plin. 
H. N. x. 69.), mostly represented with 
the body and legs of a lion, sur- 
mounted by the 
head and wings 
of an eagle ; 
thus combining 
strength with agi- 
lity. It was, con- 
sequently, em- 
ployed as an 
emblem of vigi- 
lance, and is frequently represented 
in tombs and on sepulchral lamps, as 
it were in the act of guarding the 
remains deposited therein. The ex- 
ample, from a terra-cotta lamp, pos- 
sesses all the qualities and character- 
istics described. 

GUBERNAC'ULUM {TnidaXior). 
A rudder which originally was no- 
thing more than a large oar, with a 
very broad blade, as in the right-hand 
figure subjoined, from the column of 
Trajan.either fastened by braces (funes, 
Veg. Mil. iv. 46. ZtvyXai, Eur. Hel. 
1556.) outside the quarters of a vessel, 
or passed through an aperture in the 
bulwarks ; but in its more improved 
form it was furnished with a cross- 
bar inboard which served as a tiller, 
X 




3 22 



GUBERNA TOR. 



GUTTURNIUM. 



like the left-hand figure, from a Pom- 
peian painting. Its different parts 

7a 




were distinguished by the following 
names : ansa, the handle, A ; davits, 
the tiller. B ; pinna, the blade, c. 
The word is frequently used in the 
plm-al ; because the ancient vessels 
were commonly furnished with two 
rudders, one on each quarter (wood- 
cut, p. 247.), each of which had its 
own helmsman, if the vessel was a 
large one (Scheffer, Mil. Nav. p. 301. ) ; 
but were both managed by a single 
steersman when it was small enough, 
as in the following example. 

GUBERNA'TOR {KvfSeprnmc). A 
helmsman or pilot, who sat at the 
stern to steer the vessel (Cic. Sen. 9.), 
gave orders to the rowers, and di- 
rected the management of the sails. 




(Virg. AZn. x. 218. Lucan. viii. 193.) 
He was next in command to the 
magister and immediately above the 
proreta. (Scheffer, Mil. A r az>. p. 302.) 
The illustration is from a bas-relief 
found at Pozzuoli. 



GURGUSTTOLUM. (Apul. 
Met. i. p. 17. iv. p. 70.) Diminutive of 

GURGUSTTUM. Any small, 
dark, and gloomy hovel or dwelling- 
place. Cic. Pis. 6. Suet Gramm. 1 1 . 

GUSTA'TIO. Any kind of deli- 
cacy taken as a relish or stimulant 
to the appetite before a meal. Pet. 
Sat. 21. 6. Id. 31. 8. 

GUSTATO'RIUM. The tray 
upon which a gtistatio was served up ; 
often made of valuable materials, 
and lined with tortoise-shell. Pet. 
Sal. 34. :. Plin. Ep. v. 6. 37. Com- 
pare Mart. xiv. 88. 

GUSTUM and GUSTUS. (Apic. 
iv. 5. Mart. xi. 31. and 52.) Same 
as Gustatio. 

GUT1VE. Drops, in architecture. 
I used principally under the triglypl s 
j of the Doric order, in the architrave, 
and under the taenia (Vitruv. iv. 3, 
! 4.), as in the annexed example ; but 



1 




JJJ 

555555 llll-Ll- 

sometimes also applied under the 
mutules of the order (Vitruv. iv. 3. 
6.), as in the example s. Epistylia, 
p. 262. They are shaped like the 
frustra of cones, and represent the 
drops of water which distil from 
above, and hang in pendant drops 
below. 

GUTTUR'NIUM (ttpoxooc). A 
water-jug or ewer; employed espe- 
cially for pouring water 
over the hands before 
and after meals. (Fes- 
tus, y. v.) Many of these 
have been discovered at 
Pompeii, with a lip in 
front, upright handle be- 
hind, round throat, and 
full body, similar to our jugs, but of 
a more tasteful outline and of richer 
workmanship. The word is formed 




GUTTUS, 

from Guttus, but the termination, 
uruium, is an augmenLative, indicating 
that it had a larger mouth, as shown 
in the example, from a Pompeian 
original. 

GUTTUS. A jug with a very 
narrow neck and small mouth, from 
which the liquid poured 



out flowed in small quan- 
tities, or drop by drop 
(Varro, L. L. v. 124.), as 
the name implies. Ves- 
sels of this kind were used 
at the sacrifice for pouring 




wine into the patera to make a libation 
(Plin. H. N. xvi. 73.) ; in early times, 
or by persons of moderate means, as a 
wine jug at the table, before the 
Greek epichysis was substituted in its 
place (Hor. Sat. i. 6. 118. Varro, 
I.e.) ; in the baths for dropping oil 
on the strigil with which the bather 
was scraped, in order to lubricate the 
edge, and prevent it from w r ounding 
the skin (Juv. Sat. iii. 263.) ; and 
also as an oil-cruet, in general. (Aul. 
Gell. xvii. 8.) The example represents 
a sacrificial guttus from a Pompeian 
painting. 

GYMNASIAR'CHUS (yv^vaai- 
apxog). A Greek magistrate who had 
the superintendence of the public 
gymnasia, and a jurisdiction over ail 
who frequented them. He wore a 
purple cloak and white shoes {Plut. 
Anton. 33.), and carried a stick with 
which he corrected the youths who 
committed any impropriety, or were 
guilty of unseemly or indecorous con- 
duct whilst performing their exercises. 
Cic. Verr. ii. 4. 42. Val. Max. ix. 
22. 7. extr. Sidon. Ep. ii. 2. 

GYMNA'SIUM [yvpvamov). A 
public building in which the youth 
of Greece were instructed in one of 
the principal branches of their edu- 
cation, designed for the develop- 
ment of their physical powers by the 
practice of gymnastic exercises. Al- 
most every town in Greece had an 
institution of this kind, and Athens 
possessed three, the Lyceum, Cynos- 
arges, and the Academia ; all of 



GYMNASIUM. 323 

which were constructed upon a scale 
of great splendour, and furnished 
with every kind of convenience ;— 
covered and open apartments, colon- 
nades, shady walks, baths, and other 
contrivances conducive to the health 
or comfort of the large concourse re- 
sorting thither as performers and 
spectators, or for the enjoyment of 
literary and scientific conversation. 
Vitruvius devotes an entire chapter 
of his work (v. 11.) to a description 
of the manner in which they were 
disposed ; and remains of several 
Gymnasia have been discovered at 
Ephesus, Hierapolis, and Alexandria 
in Troas ; all, however, too much 
dilapidated to afford an undoubted 
model, corresponding minutely with 
his details, or which might be 
produced as authorities sufficiently 
perfect to clear up the many ob- 
scurities still apparent in his account. 
Yet enough is left of them to show 
that they were constructed upon 
one and the same general prin- 
ciple, varied only in the details 
and such local distribution of the 
parts, as the nature of the site or 
taste of the architect would naturally 
induce. But this principle is the 
very reverse of the one adopted by 
the commentators on Vitruvius, in 
the conjectural plans which they have 
invented to illustrate his text ; for all 
of them, without exception, commit 
the remarkable error of placing the 
various apartments round the extreme 
sides of the building with the corri- 
dors within them, surrounding a large 
open area, formirg the greater part 
of the ground-plot, which thus re- 
mains unoccupied ; whereas in all 
'he three examples above mentioned, 
the main body of the building is 
situated in the centre of the plan, 
upon the very site which the con- 
jectural designs leave unoccupied. 
And this arrangement is precisely 
similar to that adopted for the 
Roman Thermae, of which the re- 
mains are more complete, and which 
were undoubtedly constructed after 



3^4 



GYMNASIUM. 



the model of the Greek Gymnasia ; 
as will be at once apparent by com- 
paring the plan s. Thermae with the 
one here annexed, which represents 
a survey from the Gymnasium at 
Ephesus, the most perfect of the 
three. The dark tint shows the 
actual remains ; the lighter one, the 
restorations, which, although par- 
tially conjectural, will be perceived, 
upon a close inspection, to be in a 
great measure authorised by the cor- 
responding parts in existence. With 
regard to the names and uses assigned 
to each portion of the plan, they have 
been made to accord, as near as can 
be, with the words of Vitruvius, 
which is satisfactorily accomplished 
in all the more important particu- 



lars ; sufficiently, at least, to afford 
a clear and accurate notion of 
the number and variety of parts es- 
sentially required in a Greek Gym- 
nasium, and of the manner in which 
they were usually distributed. 

AAA. Three single corridors (por- 
ticus simplices) round three sides of 
the central pile of building, fitted 
with seats and chairs, and adorned 
with exedrce for philosophers and 
others to retire and converse in. 
The two divisions observable at the 
bottom angles of the corridors, 
each of which is constructed with 
a semicircular absis, appear, from 
their form and position, to have been 
exedrcz constructed in the three cor- 
ridors {in tribus porticibus^, as Vi- 




truvius directs. B. A double corri- 
dor facing the south ( porticus duplex 
ad meridianas rezioms conversa), so 



constructed, that the inside walk 
might afford shelter from the rain, 
when driven inwards bv windy wea- 



GYMNASIUM. 



GYNSECEUM. 



325 



ther. These four corridors taken 
together constitute what Vitruvius 
calls the peristyle {peristylium\ which, 
though forming a peripteral portico 
round the cluster of rooms comprised 
in the central pile, is still a true 
feristylium in respect to the outer 
parts of the edifice within which it 
is situated. (Compare Peripteros 
and Peristylium. ) c. Ephebeum ; 
a large hall furnished with seats, in- 
tended as the exercising-room of the 
ephcbi, and opening on to the centre 
of the double corridor {in duphci 
porticu, in medio). D. Coryceiun, on 
the right-hand of the last apartment 
{sub dextro). E. Couisterium, the 
next adjoining {deinde proxime). F. 
Frigida lavatio ; the cold water bath, 
beyond the coniste?-ium, and after the 
turn in the building. Vitruvius places 
it exactly in the angle {in versura) ; 
so that his design provided for three 
rooms on each side of the ephebeum 
instead of two, as in the present ex- 
ample ; but the proximate situation is 
the same in both. G. Elaeotheshwi ; 
the first apartment an the left hand 
of the youths' exercising-hall {ad 
sinistram ephebei). H. Frigidarium ; 
a chamber of low temperature ad- 
joining the oiling- room, situated pre- 
cisely as Vitruvius directs it should 
be, and as it is shown to be in the 
painting from the Thermae of Titus 
introduced s. Elaeothesium. Be- 
yond this, in the plan of Vitruvius, 
was a third division, forming the 
angle which corresponded with the 
/'rig/da lavatio on the opposite side, 
and which was occupied by the pas- 
sage which conducted to the mouth 
of the furnace {iter ad propnigeum), 
but which in our example is shown 
at the letter N. 1. The next room is 
probably a Tefiidarium, though not 
mentioned by Vitruvius ; but its con- 
tiguity to the thermal chamber re- 
sembles the disposition of that apart- 
ment in the baths of Pompeii. K. 
Concamerata sudatio ; the vaulted 
sudatory, which has its warm-water 
bath {calda lavatio, L) at one extremity, 



and the Laconicum (m) at the other. 
The apartment on the opposite side, 
which is placed in the same con- 
tiguity to the furnace (o), and is 
constructed of similar shape and 
dimensions, was probably another 
sudatory, with its warm bath (p), 
and Laconicum (q), having a separate 
entrance from the Ephebeum and 
adjacent apartments. The use of 
the three rooms yet unappropriated 
(RRR) is quite conjectural ; but the 
larger and central one seems, from 
its size and locality, to be well 
adapted for the game of ball, for 
which a room was provided in every 
gymnasium, and consequently to be 
the SpJueristertzim ; the. two angular 
ones would serve for some other of 
the many games to which the Greeks 
were devoted. The parts thus far 
described comprise the whole of the 
covered apartments which Vitruvius 
appears to designate collectively the 
palcestra. On the outside of these 
were disposed three more corridors 
{extra auie?n porticus tres). one (s) a 
double one facing the north, which 
received the company from the peri- 
style {una ex peristylio exenntibtis^ 
quce spectaverit ad septentrionem, per- 
ficiatur duplex) ; and two others 
(TT), called xysli {Zvaroi) by the 
Greeks, with exercising grounds in 
front of them {stadiatce), furnished 
with an elevated path all round, to 
preserve the spectators from contact 
with the oiled bodies of those en- 
gaged at their exercises. Between 
these and the double corridor facing 
the south (b) were laid out a number 
of open walks {hypa?thr& ambulati- 
ones, -KapaSpofiihc). planted with trees, 
and having open spaces {stationes) 
left at intervals, and laid with pave- 
ments for the convenience of exercise. 
Beyond - this was the stadium (w), 
provided with seats to accommodate 
the large concourse of spectators that 
usually assembled to view the exer- 
cises of the athlete. 

GVN/ECE'UM, GVNECI'UM, 
and GYN/ECONI'TIS {ywaiKtwv, 



326 GYNJECIARIUS. 



HABENA. 



•yin'aiicu)i'7ric). That part of a Greek | 
house which was set apart for the 
exclusive use and occupation of the 
female portion of the family, like the 
harem of a modern Turkish residence. 
(Terent. Phorm. v. 6. 22. Plaut. 
Most. lii. 2. 72. Vitruv. vi. 7. 2.) 
The situation of these apartments has 
given rise to much controversy, and 
still remains in some respects doubt- 
ful. From the words of Vitruvius, 
who commences his description of a 
Greek house with the Gynaeceum, it 
has been inferred that it formed 
the front part of the house immedi- 
ately after the entrance ; but this is 
so much at variance with the close 
and studied seclusion in which Greek 
females were kept, that it must be 
given up as untenable. At the 
Homeric period, the women's apart- 
ments appear to have been situated 
in an upper story [vntpCjov) ; and in 
after times the same distribution 
was occasionally adopted, where the 
ground-plot was of small extent, 
owing to the high price or scarcity 
of land. But after the Peloponnesian 
war the most rational conjecture 
seems to be that which would place 
the Gynaeceum at the back part of 
the premises, behind the division 
allotted for the men (andronitis) ; so 
that it would occupy, with its depend- 
encies, much the same position as the 
peristyiium of the Pompeian houses ; 
as it is laid down on the conjectural 
plan of a Greek house at p. 252., on 
which it is marked e. 

2. Amongst the Romans, a cloth 
factory, or establishment in which 
only women were employed in spin- 
ning and weaving. Cod. Just. 9. 
27. 5. Id. 11. 7. 5. 

3. The Emperor's seraglio. Lact. 
Mort. persecut. 21. 

GYNyECIA'RIUS or GYN^E'- 
CIUS. The overseer or master of 
the factory girls in a gynceceum, or 
spinning and weaving establishment. 
Imp. Const. Cod. 11 7. 3. Cod. Theo- 
dos. 10. 20. 2. 

GYPSOPLAS'TES. One who 



takes casts in plaster of Paris ( gyp- 
sum). Cassiodor. Var. Ep. vii. 5. 
Compare Juv. ii. 4., where gypsum 
means the cast itself. 

H. 

HABE'NA. Literally that by 
which any thing is held, bound, 
drawn, or fastened ; whence the fol- 
lowing more special senses : — 

1. (>}/'<«! )• Mostly used in the 




plural ; a pair of reins for riding or 
driving, like the annexed example, 
from a bas-relief in the Museum at 
Verona Virg. Hor. Ov. &c. 

2. {pvrayioyevg). In the singular ; 
a halter rope, or leading rein attached 
to a horse's head stall, as contradis- 




tinguished from frcenum, which was 
bitted (Ammian. xix. 8. 7.) ; shown by 
the example, from an engraved gem. 

3. A short thong attached to the 
shaft of a spear, to assist in hurling it 
(Lucan. vi. 221.) ; poetical for Amen- 
tum, I., where see the illustration. 

4. A strap or sandal, by which 
shoes that had no upper leather were 
fastened over the instep (Aul. Gell. 
xiii. 21. 2.) ; same as Amentum, 2., 
where see the illustration. 



HALTERES. 

The lace or strap by which the 
cheek-pieces {buccala) were fastened 
under the chin. Val. Flacc. vi. 365., 
woodcut p. 90. 

6. The sheets of a sail ; i. e., the 
ropes by which the lower ends of 
the sails are braced to or slacked 
away from the wind (Val. Flacc. iv. 
679. Compare Ov. Fast. iii. 593.) ; 
poetically for Pes, where see the il- 
lustration. 

7. The thong of a sling (Lucan. 
iii. 710. Val. Flacc. v. 609.); see 

FUNDA. 

8. The thong of a whip for punish- 
ing slaves (Hor. Ep. ii. 2. 15. Ov. 
Her. ix. 81. and illustrations s. Fla- 
GELLUM and Scutica) ; or for flog- 
ging a top. Virg. ^En. vii. 380. 

H ALT E' RES (aXrfjpu). Heavy 
weights of stone or lead, like our 
dttmb-bells, intended to increase the 
muscular exertion of gymnastic exer- 
cises, being held in each hand whilst 
leaping, running, dancing, &c. 
(Mart. vii. 67. Id. xiv. 49. Compare 
Senec. Ep. 15. and 56. Juv. vi. 421.) 




The illustration represents a youth 
in the gymnasium lifting a pair of 
halteres from the ground, with two 
examples of the different forms in 
which they were made on the left 
hand of the engraving, all from de- 
signs on fictile vases : the large one 
at the top will afford a specimen of 
the massa gravis of Juvenal (/. c). 

HAM A {dfiij.) A pail or bucket ; 
used in the wine cellar (Plaut. Mil. 
iii. 2. 42.) ; by firemen and others 
for extinguishing conflagrations (Juv. 
xiv. 305. Plin. Ep. x. 35. 2.); for 
drawing water from a well. Ulp. 
Dig. 33- 7- 12. § 21. 



HAM US. 327 

HAMATUS, sc. Ensis. (Ovid 
Met. v. 80.) See Falx, 6. 

2. See Lorica, 6. 

HAMIO'TA. An angler; who 
fishes with a line and hook {hamus), 
as contradistinguished from one who 
nets his prey. (Plaut. Rud. ii. 2. 
5. Varro, ap. Non. s. v. p. 25.) The 
illustration is copied from a painting 




at Pompeii, the inhabitants of which 
town appear to have been much ad- 
dicted to the amusement of angling, 
arising, perhaps, from their proximity 
to the Sarno ; for the landscapes 
painted on the walls of their houses 
frequently contain the figure of an 
angler, who always wears the peculiar 
kind of hat here shown, or one very 
similar to it, and carries a fish-basket 
of the same shape as our figure. 

HAMOTRAHO'NES. A nick- 
name given to anglers, and to the 
gaolers who dragged up the corpse of 
a criminal, after execution, from the 
carniftcina on to the Gemonian stairs ; 
both in allusion to their use of a 
hook {hamus). Festus, sv. 

HA'MULUS. Diminutive of 
Hamus. A small fish-hook (Plaut. 
Stich. ii. 2. 16. Apul. Apol. p. 460. 
Jlexus) ; a surgeon's instrument. 
Celsus, vii. 7. 4. 

HA'MUS {ayicinrpov). A fish- 
hook, made of various sizes, and in 
form and character precisely like our 
own. Plaut. Cic. Hor. Ov. 



HAPHE. 



HARP A, 



2. {ayiciarpov). The Greeks ap- 
plied the same name to a hook on 
the top of a bobbin (tttjvlov), round 
which the thread for making the 
woof in weaving was wound (Plato, 
Rep. x. p. 616. c.) ; 
and probably the Ro- 
mans likewise, though 
the word is not found 




m any remaining pas- 
sage with this meaning ; 
but the hook itself is 
plainly shown in the annexed engrav- 
ing, representing Leda's work-basket, 
from a painting at Pompeii, which 
contains two bobbins, each furnished 
with a hook of this description, and 
four balls of spun thread ready for 
winding on a bobbin. 

3. The thorn of a briar (Ov. Nux. 
T15); whence applied to the hook 
of the weapon called harpe (Ov. Met. 
iv. 719), attributed to Perseus and 
Mercury, which exactly, resembles 
che thorn of a briar, as shown by the 
annexed examples from a Pompeian 

painting : it also demonstrates to 
conviction the incorrectness of the 
usual translation given to the passage 
quoted— -ferrum curvo tenus abdidit 
hamo—" up to the hilt." 

4. An iron hook or thorn, of which 
several were set in a frame to form a 
brush or comb with which tow, oakum, 
or unwrought flax was carded and 
pulled into even flakes. Plin. H. N. 
xix. 3. 

5. The hook or ring by which 
each plate in a flexible coat of mail 
was joined to its neighbour when 
they were merely linked together, 
instead of being sewn on to a sub- 
stratum of linen (Virg. JEn. iii. 
467.) ; as explained and illustrated s. 
Lorica, 6. 

6. A surgical instrument, the pre- 
cise nature of which is not ascer- 
tained. Celsus, vii. 7. 1 5. 

7. A kind of cake, the nature of 
which is unknown. Apul. Met. x. 219. 

HAP' HE {a<p,)). The yellow sand 



sprinkled over wrestlers after they 
were anointed, in order that they 
might obtain a firm hold upon each 
other (Mart. vii. 67.) ; hence a 
cloud of dust raised hi -walking (Se- 
neca, Ep. 57.), with which Seneca 
complains that he was smothered in 
the Grotto of Posillipo. In the first 
illustration to the article Lucta, a 
basket is seen on the ground between 
the wrestlers, in allusion to the prac- 
tice described. 

HARA. A pig-sty ; especially 
for a breeding sow. (Columell. vii. 
9. 9. Cic. Pis. 16.) Compare SuiLE. 

2. A pen or coop for geese. 
(Varro, R. R. iii. 10. Columell. viii. 
14. 6. and 9.) Compare Cheno- 

B-OSCION. 

HARM AM AX' A [apua^la). A 
four-wheeled carriage, or caravan, of 
Eastern origin, usually drawn by 
four horses, having a cover overhead, 
and curtains to enclose it at the sides : 
and especially used for the convey- 
ance of women and children (Curt, 
iii. 3. Herod, vii. 41. Diod. Sic. xi. 
56.), but of which no authentic repre- 
sentations remains. 

HAR'MOGE (apfxoyr/). A term 
employed by painters to express the 
union and blending of two adjacent 
tints imperceptibly and harmoniously 
together. Plin. H.N. xxxv. 11. 

HARPA. A harp, with a curved 
back in the form of a sickle [ap7n], 
falx), like the annexed example, 
from an Egyptian painting. Venant, 




Car?n. vii. 8. 63., in which passage it 



is expressly distinguished from the 
lyre, and as an instrument used by 
foreigners. 



HA RPA GINE TUL US. 



HARUSP1CA. 



3 2 9 



HARPAGINE'TULUS. (Vitruv. 
vii. 5. 3.) The reading of this word 
is generally given up as corrupt ; but 
a plausible authority for its genuine- 
ness has been suggested by one of the 
paintings at Pompeii {Pitture d'Er- 
colano, torn. i. p. 212.), which, in- 
stead of a regular frontispiece over a 
row of columns, presents a fanciful 
elevation covered all over with orna- 
ments resembling so many little 
hooks (karpaginetuli, dim. of harpa- 
gines) ; which, it is thought, may be 
the objects referred to by Vitruvius. 

HAR'PAGO and HAR'PAGA 
{apTcayi]). A particular kind of hook 
constructed for grappling and draw- 
ing things up, or down, or towards 
the person using it, which was con- 
sequently applied in various ways ; 
as a flesh-hook {xpeaypa), for taking 
eatables out of the pot (Schol. Aris- 
toph. Ep. 772.) ; a drag for bringing 
things up from the bottom of the 
water, a bucket, for instance from a 
well (Ulp.Z%. 37. 7- 12- § 21.) ; and 




as a grappling-iron in naval warfare, 
for seizing the rigging of an enemy's 
vessel, so as to bring it up to close 
quarters (Liv. xxx. 10.), and similar 
purposes. The example, which is 
copied from a bronze original in the 
British Museum, corresponds exactly 
with the words of the Scholiast on 
Aristophanes (/. c), where it is de- 
scribed as an instrument made with 
a number of iron prongs, bending in- 
wards like the fingers of the human 
hand, so as to catch in different ways. 
A wooden handle was added of various 
lengths, as best suited the purpose 
for which it was emploved. 

HARPAS'TUM {apwaarov), A 
ball employed for a particular kind 
of game in vogue amongst the Greeks 
and Romans. It was of larger di- 
mensions than the paganica, but 



smaller than the follis. The game at 
which it was used was played with 
a single ball, and any number of 
players, divided into two parties ; the 
object of each person being to seize 
the ball from the ground (whence it 
is associated with the epithet pulveru- 
leuta, dusty), and to throw it amongst 
his own friends. The party which 
first succeeded in casting it out of 
bounds gained the victory. Mart, 
iv. 19. Id. v'n. 62. and 67. Mercurial. 
Art. Gym. ii. 5. 

HARPE {IcpTvi}). A particular 
kind of sword or dagger, with a hook 
like a thorn (Ziamus), projecting from 
the blade from a certain distance below 
the point {mucro) ; as shown by the 
figure in the centre of the opposite page. 
This weapon is fabled to have been 
used by Jupiter (Apollodor. Bibl. i. 
6.), Hercules (Eurip. Ion, 191.), and 
more particularly by Mercury and 
Perseus '(Ov. Met. v. 176. ib. 69.), to 
the last of whom it is universally 
assigned, as a characteristic weapon, 
by the ancient artists in their sculp- 
tures, paintings, and engraved gems. 

HARUSTEX (ifpofTKOTroc). A 
soothsayer and diviner, who affected 
to foretell future events by inspecting 
the entrails of victims, and to interpret 
the extraordinary phenomena of na- 
ture, such as lightning, thunder, me- 
teoric effects, earthquakes, &c. ; thus 
assuming the combined powers of an 
Extispex and an Augur, both of 
whom held a regular political office, 
were appointed by the government, 
and used as state engines. But the 
haruspex held no sacerdotal nor public 
position ; and amongst the educated 
classes was regarded with much less 
respect than the other two ; though 
he carried his jugglery to a much 
greater extent than either, in order 
to trade more effectively upon the 
popular credulity. Cic. Div. i. 39. 
Val. Max. I. I. § 1. Columella i. -8- 
6. Herzog. ad Sail. Cat. 47. 2. 

HARUS'PICA. A female who 
practises the same arts as the Haru- 
spex. Plaut. Mil. iii. I. 98. 



330 



HASTA. 



HAST A ttyx ^)- A spear ; used 
as a pike for thrusting, and as a 




* 



missile to be thrown from the hand. 
It consisted of three separate parts : 
the head (cuspis, ni\}ii) and sTriSopuric) 
of bronze or iron ; the shaft {hastile, 
Sopv) of ash or other wood ; and a 
metal point at the butt end {spiadiim, 
rrauputriip or (JTvpaO, which served to 
fix it upright in the ground, or as an 
offensive arm if the regular head got 
broken off. (Polyb. vi. 25.) The 
top figure in the annexed illustration 
represents a Roman spear head, from 
an excavation in Lincolnshire ; the 
centre one, a point for the butt end, 
from a fictile vase ; and the lowest, 
the whole spear, with the three parts 
put together. The manner in which 
it was hurled is shown by the an- 
nexed engraving, from the Vatican 




Virgil, intended to represent the 
attack and defence of a fortified post ; 
while at the same time it illustrates 
and explains the more special terms 
adopted for describing the action em- 



ployed. It will be observed that the 
figure on the ground has the inside of 
the hand turned outwards, or from 
himself, so that in such a position he 
must have discharged his spear with 
a sort of twist to give it impetus, 
which is expressed by the phrase? 
rotare (Stat. Theb. ix. 102.), or tor 
quere (Virg. Hin. x. 585. xii. 536.) ; 
those above have the back of the 
hand turned outwards,, and the little 
finger, instead of the thumb, towards 
the head of the spear, which repre- 
sents the ordinary manner of throw- 
ing the missile, expressed by jacere, 
jactare, mittere, &c. ; when held and 
poised at the centre of gravity, with 
the back of the hand turned down- 
wards, in order to take an aim before 
the cast, in which case the point and 
butt would alternately rise and sink, 
like the beam of a balance {libra), the 
action was designated by the word 
librare, Virg. ALn. xix. 417. ix. 
479., which passage makes a pointed 
distinction between jacere and librare. 

2. Hasta amentata. (Cic. De 
Oral. i. 57.) A spear furnished with 
a thong to assist in hurling it. 
Amentum, and illustration. 

3. Hasta ansata. (Ennius ap. 
Non. p. 556.) A spear with a handle 
fixed on the shaft, to assist in thrust- 
ing and hurling. Ansatus, 2. and 
illustration. 

4. Hasta velitaris (ypoatyoc). The 
spear or dart employed by the light- 
armed troops of the Roman armies, 
the shaft of which was about three 
feet long, and of the thickness of a 
finger, whilst the head was not more 
than a span in length, but so thin and 
finely acuminated, that it bent imme- 
diately upon coming in contact with 
any thing which offered solid resist- 



ance ; consequently, if the soldier 
missed his aim, it was useless to the 
enemy, and could not be thrown back 
again. (Liv. xxxviii. 20. Plin. H. N. 
xxviii. 6. Polyb. vi. 22.) The head 
of one of these weapons is shown 



HAST A. 



HAS TAT I. 



33 1 




by the illustration., from an original 
found in a Roman entrenchment at 
Meon Hill in Gloucestershire. 

5.. Has/a pura. A spear without 
a head (cuspis), like 
the old Greek sceptre 
{sceptrum), which the 
Roman general used 
to bestow as an hono- 
rary reward upon a 
soldier who had dis- 
tinguished himself in 
battle. (Tac. Ann. 
iii. 21. Virg. s£n. 
vi. 760. Serv. ad. I. 
Suet. Claud. 28.) The 
illustration is copied 
from a painting in 
the sepulchre of the 
Nasonian family near Rome. 

6. Hasta pnepilata, with the ante- 
penult short. A spear with the point 
muffled, or covered with a button or 
bail (pila) at the end, like our foils 
(Plin. H. N. viii. 6.), used by soldiers 
at their exercises (Hirt. B. Afr. 72.), 
and at reviews or sham fights. Liv. 
xx vi. 51. 

7. Hasta pampinea. - The Thyrsus 
of Bacchus, so termed because it was 
onginally a spear with its head 
buried in vine leaves (Vinr. ALn. vii. 



399. Calpurn. Eel. x. 65. ), as in the 
annexed example from a Pompeian 
painting. 

8. Hasta graminea (za^at). A spear 
made of the tall Indian reed, which 
it was usual to place in the hands of 
colossal statues of Minerva on ac- 
count of its imposing length and size. 
Cic. Verr. ii. 4. 56. 

9. Hasta ccelibaris. A spear, with 
the point of which the Roman bride- 
groom parted the hair of his betrothed 
on the marriage day. (Festus s. v. 
Ovid.' Fast. ii. 560. hasta recurva.) 
The epithet "hooked" or "bent," 
which Ovid applies to this instru- 
ment, plainly intimates that it was 
not an ordinary spear that was used 



for the purpose, but the rustic spear, 
or Sparum, which see. 

10. Hasta public a. A spear set 
up as the sign of a public auction 
when goods were publicly disposed of 
to the highest bidder (Nep. Att. xxv. 
6. Cic. Off. ii. 8.) ; a practice arising 
from the predatory habits of the old 
Romans, who, when they disposed of 
the plunder taken in war, planted a 
spear by the side of the booty, to in- 
dicate whence the right of ownership 
accrued. 

11. Hasta centuviviralis. A spear 
which it was customary to set up as 
an emblem of authority in the courts 
of the centumviri ; wdience the ex- 
pression, centumviralem hasiam erigere, 
means to summon the centumvirs to 
their judgment-seats ; or, in other words, 
to open'their court. Suet. Aug. 36. 
Mart. vii. 63. 

HASTA'RII. Yeg. Mil ii. 2. 
Same as Hastati. 

HASTA'RIUM. An auction-room 
(Tertull. Apol. 13.) ; a catalogue oj 
sale. Id. ad Nation, i. 10. 

HASTA'TI. In general any per- 
sons armed with spears ; but in a 
more special sense the Hastati were a 
particular body of heavy-armed in- 
fantry, constituting the first of the 
three classes into which the old 
Roman legion was subdivided. They 
consisted of the youngest men, and 
were posted in the first line of the 




battle array, at least until the latter 
end of the republic, when the custom 
had obtained of drawing up the 



33 2 



HELCIUM. 



HELIOCAMINUS. 



Roman army in lines, by cohorts ; 
and, consequently, the old distinctions 
between the Hastati, Principes, and 
Triarii, in regard to the respective 
positions occupied by each of them, 
had been abandoned. But their arms 
and accoutrements appear to have 
been retained, without any very im- 
portant change even under the em- 
pire ; for they are frequently repre- 
sented upon the arches and columns 
with weapons of offence and defence 
similar to those which Polybius 
ascribes to them at his day ; viz. a i 
helmet, large shield, cuirass of chain- 
mail, sword on the right side, and 
spear, as shown by the annexed ex- 
ample from the column of Antoninus. 
The cuirass of chain armour (9i6pn% 
rt\«'o-i^a>roc), which was peculiar to the 
hastati, is indicated by the markings 
in the engraving, but is more promi- 
nently apparent in the original, from 
being placed in immediate contrast 
with two other figures, the one in 
scale armour [lorica squamata), the 
other plumated {lorica plumata), both 
of which are detailed with equal de- 



cision and distinctness. Varro, L. L. 
v. 89. Ennius ap. Macrob. Sat. vi. i. 
Liv. xxii. 5. Polvb. vi. 23. 

HASTI'LE. Properly the shaft 
of a spear (Nepos, Epam. xv. 9.) ; 
thence used for the spear itself (Ov. 
Met. viii. 28. ) ; a goad for driving 
cattle (Calpurn. Eel. iii. 21.) ; or any 
long stick. Virg. Georg. ii. 358. 

HAUSTRUM. A scoop, box, or 
bucket on a water-wheel which takes 
up the water as the wheel revolves. 
(Lucret. v. 517. Non. s. v. p. 13.) 
These were sometimes wooden boxes 
{modioli, Vitruv. x. 5.) ; at others 
only jars {cadi, Non. I.e.); and the 
Chinese of the present day make use 
of a joint of bamboo for the purpose ; 
see the illustration s. Rota Aquaria, 
which affords a clear notion of what 
is meant by the term. 

HELCIA'RIUS. One who tows 
a vessel against the stream by a tow- 
line (Ae/cium) Mart. iv. 64. 22. Si- 
don. Ep. ii. 10. ; as shown by the an- 
nexed illustration, which represents a 
vessel laden with corn and oil being 
towed by two grotesque figures. The 




original forms part of the border to a 
mosaic pavement excavated many 
years back at Lerida, in Spain, where 
it was copied by a friend of my own. 

HELCIUM. Generally, a rope by 
which anything is drawn onwards ; 
specially applied by Apul. Met. ix. p. 
185. to the rope by which a donkey 
is harnessed to his load ; but whether 
indicating a trace, or the rope by 
which a yoke is fastened on his neck, 
there is not sufficient authority to de- 
termine. 



HELEP'OLIS {e\s7ro\ic). Literally, 
the destroyer of cities, the name given 
to an engine invented by Demetrius 
Poliorcetes for besieging fortified 
places, consisting of a square tower 
placed upon wheels, and run up to the 
height of nine stories, each of which 
was furnished with machines for bat- 
tering and discharging projectiles of 
enormous size and weight. Diod. Sic. 
xx. 48. xx. 91. Vitruv. x. 22. Am- 
mian. xxiii. 4. 10. 

HELIOCAMI'NUS (^om/m'oc). 



HELIX. 



HEM 10 LI A. 



333 



A room with a southern exposure, 
which received sufficient heat from 
the natural warmth of the sun, and, 
consequently, required no artificial 
contrivance for warming. Plin. Ep. 
ii. 17. 20. Ulp. Dig. 8. 2. 17. 

HEL'IX The small volute 

under the abacus of a Corinthian 
capital, intended to - 
imitate the tendrils 
or curling stalk of the 
vine, ivy, or any pa- 
rasitical plant, bent 
down by a super- 
incumbent weight. j ( 
Each capital is deco- 
rated with sixteen, two under each 
angle of the abacus, and two meeting 
under its centre on each face. Vitruv. 
iv. I. 12. 

HEMICYC'LIUM (^iriweXiov). A 
semicircular alcove, sufficiently large 
to admit of several persons sitting in 
it at the same time, for the enjoyment 





of mutual converse. The ancients 
constructed such places in their own 
pleasure-grounds (Cic. Am. 1. Sidon. 
Ep. i. V.), and also as public seats in 
different parts of a town for the ac- 
commodation of the inhabitants (Suet. 
Gramm. 17. Plut. dc Garrul, p. 99.). 
The annexed woodcut affords an 
example of the latter sort; represent- 
ing a hemicyclmm at Pompeii, as it 
is now seen at the side of the street, 
just outside of the principal entrance 
to the city from Herculaneum. The 
seat runs all round the back, and the 
floor is at a considerable elevation 




above the level of the pavement, so 
that a small stepping stone is placed 
in the front of it for the convenience 
of access. 

2. A sundial of simple construction 
invented by Berosus, consisting of an 
excavation nearly 
spherical on the 
upper surface of 
a square block of 
stone {excavatum 
ex quadratd) with- 
in which the hour 
lines were traced, 
and having the an- 
terior face sloped away from above so 
as to give it a forward inclination ( ad 
enclima succisum ) adapted to the polar 
altitude of the place for which the 
dial was made. (Vitruv. ix. 8. ) The 
example is copied from an original, 
discovered in 1764 amongst the ruins 
of an ancient villa near Tusculum : 
the angle of the enclima is about 40 
43', which agrees with the latitude of 
Tusculum, and the whole instrument 
coincides exactly with a marble of 
the same description amongst the 
collection at Ince Blundell, in Lanca- 
shire, which has a bust of Berosus 
sculptured on the base, and the name 
hemicyclium inscribed upon it. 

HEMI'NA {t'lpiva). A measure of 
capacity, containing half a sextarius 
(Festus, s. v. Rhemn. Fann. de Pond. 
67.) ; whence, also, a vessel made to 
contain that exact quantity. Pers. i. 129. 

HEMIOL'IA (r)fiioXia). A parti- 
cular kind of ship (Gell. x. 25.), 




used chiefly by the Greek pirates 
(Arrian. Anab. hi. 2.5.); constructed 
in such a manner that half of its side 



334 



HEMISPHMRIUM 



HERMERACLES. 



was left free from rowers, in order to 
form a deck for fighting upon. (Ety- 
mol. Sylburg. ap. Scheffer. Re Nav. 
p. 74.) It seems to have belonged to 
the same class as the Cercurus, with 
a slightly different arrangement of 
the oars ; and is probably represented 
by the annexed example, from an 
Imperial medal (Scheff. /. c. p. III.), 
in which the central portion, not oc- 
cupied by rowers, forms the deck 
alluded to. 

HEMISPHMRIUM. One of the 
many kinds of sundials in use amongst 
the ancients (Vi- 
truv. ix. 8. ), which 
received the name 
from its resemb- 
lance to a hemi- 
sphere, or half of 
the globe sup- 
posed to be cut 
through its centre 
in the plane of one 
of its greatest 
circles. The illus- 
tration represents 
a statue of Atlas, 
formerly standing 
in the centre of Ravenna (Symeoni, 
Epitaffi autichi, Lione, 1557), which 
affords an appropriate design for a dial 
of this description ; and indicates that 
the hemisph(£rium was erected in an 
upright position, whereas the discus, 
which was also circular, was laid flat 
upon its stand : and that constitutes the 
difference between them. 

2. The interior of a dome ; i. e., 
the ceiling formed by it, which, in 
fact, consists of the half of a hollow 
globe ; such, for instance, as the Pan- 
theon at Rome. Vitruv. v. 10. 5. 

HEPTE'RIS {s7rrnp V c). A war- 
galley with seven banks of oars. (Li v. 
xxxvii. 23.) See the article Hexeris, 
where the method of arranging the 
oars and counting the banks, when 
they exceeded a certain number, is 
partially explained ; and if the plan 
there supposed be adopted, the ad- 
dition of one oar-port to each tier 
between stem and stern, will make 




the rating of seven banks instead of 
six ; which banks will be disposed in 
the manner shown by the following 
diagram. 



HERM/E (Kpficxl). Mercurus ; a 
particular kind of statues, in which 
only the head, and sometimes the 
bust, was modelled, all the 
rest being left as a plain four- 
cornered post ; a custom 
which descended from the old 
Pelasgic style of representing 
the god Mercury. (Macrob. 
Sat. i. 19. Juv. viii. 53. 
Nepos, Alcib. vii. 3.) The 
trunk was sometimes sur- 
mounted with a single head, 
more usually with a double 
one, as in the example from 
an original in the Capitol at j 
Rome ; and the personages 
most commonly selected for 
the purpose were the bearded Bacchus. 
Fauns, and philosophers. Pillars of 
this description were extensively em- 
ployed for many purposes ; as sign- 
posts ; as the uprights in an orna- 
mental fence or railing, to which use 
the original of our engraving was 
applied (the cavities being visible on 
each of its sides, which received the 
cross-bars between post and post) : in 
the circus, for holding the rope or 
bar which kept the doors of the stalls 
(carceres) closed until the chariots 
received the signal to come out (Cas- 
siodor. Var. Ep. hi. 51.); as shown 
by the illustration at p. 1 19. ; and, in 
short, for any purpose for which a 
post would be employed. 

HERMATHE'NA. Probably a 
terminal statue, like that just de- 
scribed, with the head of Athena or 
Minerva on the top ; of which an 
example is engraved by Spon. Re- 
cherches, p. 98. No. II. Cic. Att. L 4. 

HERMERACLES. Probably a 



HERMEROS. 



HEXERIS. 



335 



terminal statue ( Herma ) with the bust 
of Hercules on its top ; of which ex- 
amples remain at Rome. Mus. Pio- 
clem. i. 6. Mus. Capitol, i. p. 13. Cic. 
Att. I. 10. 

HERM'EROS. Probably a ter- 
minal statue (Henna) with the bust 
of Eros, or Love, on the top. Plin. 
H. N. xxxvi. 4. § 10. 

HERM'UL.E. (Cassiodor. Var. 
Ep. iii. 51.) Diminutive of HerM/E. 

HEROUM (r)p<pc»>). A sepulchral 
monument, built in the form of an 




cedicula, or small temple. (Inscript. 
ap. Mur. 889. 8. Plin. // N. x. 6.) 
Monuments of this kind originated 
with the Greeks, and in the first in- 
stance were only erected in honour 
of their deified heroes : which ex- 
plains why the temple was taken as a 
model ; but subsequently they were 
extensively adopted" by private indi- 
viduals, as may be inferred from the 
frequent representations of them on 
fictile vases and sepulchral marbles. 
The example annexed is copied from 
a marble slab in the Museum at 
Verona, which served as the monu- 
ment of a Greek lady, named Euclea, 
the daughter of one Agatho, and wife 
of Aristodemon, as the epitaph in- 
scribed upon it in Greek characters 
testifies. 

HEXACLPNON. A term coined 
from the Greek, for the purpose of 
designating a dining-couch made to 
accommodate six persons. Mart. ix. 
60. 9. 



HEXAPH'ORON. A palanquin 
or sedan (leetica, sella), carried by 
six men (Mart. ii. 81. Id. vi. 77.), in 
the manner described and illustrated 
s. Asser, I. p. 63. 

HEXAPH'ORI, sc. phalangarii. A 
set of six men who carry any burden 
by their joint exertions, united by the 
aid of a phalanga (Vitruv. x. 3. 7.). 
as explained in the articles Phalanga. 
and Phalangarii, where the illus- 
trations represent the operations per- 
formed by two men and by eight. 

HEXASTY'LOS. Hexasiyle ; 
i. e., which has a row of six columns 
in front. 

HEXE'RIS A vessel 

furnished with six banks of oars on 
each side. (Liv. xxxvii. 23.). It is 
still a matter of doubt and of difficulty 
even to surmise how the oars were 
disposed in a vessel rated with six 
banks (ordines) ■ as it has been proved 
by experiments that an oar poised at 
such an altitude from the" water's 
edge as would be required for the 
sixth seat of the rower, even when 
placed diagonally over the five others, 
would have so great a dip for its 
blade to touch the water, that the 
handle would be elevated above the 
reach of the rower ; or, if the oar 
were made of sufficient length to 
obviate this inconvenience, being fixed 
as of necessity upon the thowl at 
one-third of its entire length, the part 
inboard would be so long that it must 
reach over to the opposite side of the 
vessel, and thus completely obstruct 
all movement within it. The most 
feasible construction seems to be that 
suggested by Howell ( Treatise on the 
War Galleys of the Ancients), that 
when vessels had more than five 
banks of oars, the banks were not 
counted in an ascending direction 
from the water's edge to the bulwarks, 
but lengthwise from stem to stern ; 
that these were placed in a diagonal 
direction, as in a trireme (see Tri- 
REMIS, and illustration), and always 
five deep in the ascending line ; but 
that they were rated, not by these, but 



33 6 HIBERNACULA. 



HIPPOCENTA UROS. 



by the number of oar-ports between 
stem and stern. Thus a hexeris 
would have five parallel lines of oars, 
with six oar-ports in each, placed 
diagonally over one another, as in 
the annexed diagram ; a /tester is 



seven ; a decemreniis, ten ; and so on. 
Compare Ordo. 

HIBERNACULA. Apartments 
in a dwelling-house intended for win- 
ter occupation, which were less deco- 
rated than other apartments, in con- 
sequence of the dirt caused by the 
smoke of the fires and lamps burnt in 
them (Vitruv. vii. 4. 4.), and for 
which a western aspect was considered 
the most eligible. Vitruv. 1.2. 7. 

2. Tents constructed for a winter 
campaign, or in which the soldiers 
were lodged when an army kept the 
field during the winter season ; con- 
sequently, they were covered with 
skins, and built of wood, or of some 
more substantial material than an 
ordinary tent. Li v. v. 2. Compare 
xxx. 3. xxxvii. 39. 

HIBER'NA { X (ipdSia). Winter- 
quarters in which the army was distri- 
buted during winter, when not kept in 
the field under tents {hibemackla). Liv. 
xxiii. i3.Cic. Fam. xv. 4. Tac. 

HIERONI'CA (lepdi'iKtiQ). Pro- 
perly, a Greek term, 
which has exclusive 
reference to the cus- 
toms of that nation. 
It was employed to 
designate the victor 
in any of their public 
games ; viz. the Ne- 
mean, Pythian, Isth- 
mian, and Olympic, 
which were also 
called sacred games, 
because they com- 
menced with reli- 
gious ceremonies. 
The illustration re- 




presents a Grecian youth, crownei 
and habited as one of these victors, 
whose costume very closely resembles 
that ascribed to Nero, when he en- 
tered the cities of Italy as a kierotiica 
(Suet. Nero, 25.), after contending at 
the Olympic races. 

HIEROPHAN'TA and HIERO- 
PH ANTES (ifpo0<W^) k A high 
priest and teacher of religion amongst 
the Greeks and Egyptians, corre- 
sponding in many respects to the 
Roman Pontifex Maximus. Nep. Pel. 
3. Tertull. adv. Marc. i. 13. 

HIEROPHAN'TRIA. A 
priestess of similar character and 
dignity to the hierophanta. Inscript. 
ap. Grut. 538. II. 

HIPPAG'INES, HIPP'AGI, 
HIPPAGO'GI {imraywyoi). Horse- 
transports, especially for the convey- 
ance of cavalry troops. Festus s. v. 
Gell. x. 25. Plin. H. N. vii. 57. 
Liv. xliv. 28. 

HIPPOCAMTUS (ITTTTO/Ca/XTTOC). 

A fabulous animal, having the fore 
quarters and body of a horse, but 




ending in the tail of a fish, like the 
annexed example, from a Pompeian 
painting, which the poets and aitists 
of antiquity commonly attach to the 
marine car of Neptune and the 
Tritons. Nasv. and Lucil. ap. Non, 
s. v. p. 1 20. 

HIPPOCENTAU'ROS (nnroKsv- 
ravpoc). A horse-centaur, half-horse 
and half-man (Cic. N. D. ii. 2.), as 
opposed to the fish-centaur, half-man 
and half-fish (ixOvmcst'ravpot:), under 
which form the giants who waged 
war against the gods, were represented 
(Apollodor. i. 6. I. Mus. Pio-Glem. iv. 
tav. 10.) Hippocentaurs were also 



HIPPODROMUS, 



represented of the female sex (Luc. 
Zenx. 3.), of which an example is 




afforded by the illustration from a 
bronze discovered at Pompeii. 

HIPPOU'ROMUS. A hippodrome; 
which, amongst the Romans, implies 
a plot of ground in a garden or villa, 
planted with trees, and laid out into a 
variety of avenues for the purpose of 
taking equestrian exercise. Plin. Ep. 
v. 6. 32. Mart. xii. 50. 

2. (nrwoSpoiuLOL). A hippodrome ; 
which, amongst the Greeks, implies a 
race-course for horses and chariots, as 
contradistinguished from the stadium, 
which was appropriated to foot- 
racing. Hippodromes of this kind 
were frequently attached to the gym- 
nasia, in which the youth of Greece 
learned the art of horsemanship (Plaut. 
Bacch. iii. 3. 27. ) ; but the regular 
Greek Hippodrome, in which the 
public races took place, corresponds 
more closely with the Roman Circus, 
though possessing some remarkable 
points of difference, and is better 
known to us from the description 
which Pausanias has left of the Olym- 
pic race-course, than from its actual 
remains, some vestiges of it merely 
being still extant. (Gell. Itinerary of 
Morea, p. 36.) The most important 
distinction consisted in the manner 
of arranging the stalls for the horses 
and chariots, which were not dis- 
posed in the segment of a circle, as in 
the Roman Circus (see the woodcut 
page 165. A. A.); but were arranged 
in two lines with curvilinear sides 
converging to a point in front of the 
course, so that the whole plan re- 
sembled the figure of a ship's prow, 



337 

with its beak towards the course, and 
the base, or extremity of the two 
sides, where they were widest apart 
resting upon the flat end of the hippo- 
drome, or upon a colonnade, which 
covered it. (Pausan. vi. 20. 7.) The 
whole of this was called the afeois, 
and corresponded in locality, though 
not in distribution, with the oppidum 
of a Roman circus. The peculiarity 
of the arrangement was an ingenious 
invention of the architect Cleotas 
(Paus. /. c), and originated in the 
necessity of affording abundant sta- 
bling room, much more being 
required at a Greek race-course, 
where the numbers were not li- 
mited to twelve, as they were with 
the Romans, but all were freely ad- 
mitted who wished to compete for 
the prize. The drivers drew lots for 
their stalls (Paus. /. c.) ; and the fol- 
lowing method was adopted in order 
that those who got nearest to the 
point might not possess any advantage 
over the others who were posted be- 
hind them. A separate rope or bar 
{KoXcodior, tWAjji) was drawn as a 
barrier across the front of each stall ; 
and when the races were about to 
commence, the two ropes which closed 
the remote stalls (1. 1.) on each side 
were loosened simultaneously, so that 
the two cars from the furthest end 
came out hist; and when they had 
advanced as far as the level of the 
two next (2 2.), these were removed ; 
and the four cars continued their 
course until they had gained the line 
of_ the next stall (3. 3..), when the 
third barriers were slacked away ; 
and so on until the whole number 
arrived on a line with the point of 
the prow (b), from whence they all 
started together and abreast. (Paus. 
/. c) It is probable that a long line 
was drawn entirely across the course 
at this point, which answered the 
same purpose as the Roman linea alba. 
The whole of this design will be 
clearly understood from the annexed 
plan of the Olympic hippodrome, as 
suggested by Visconti, to illustrate 
Y 



UIPPOTOXOTA. 



the description of Pausanias ; though 
conjectural, it possesses great seeming 
probability to stamp it with a mark 
of authority. At all events, it will 
serve to give a distinct idea of the 
more important features of a Greek 
hippodrome, and of the meaning of 
the terms by which each part was 




designated. A. The space enclosed 
by the stalls already described. B. 
The point or beak of the atyujic, 
termed tfifioXov by Pausanius. c. The 
colonnade (aroa) forming a termination 
to the flat end of the hippodrome : 
perhaps this member was not always 
added. I, 2, 3, 4. The stalls for the 
horses (oiKiifiaTa, carceres). D D. 
The course ((Tpojuoc). E. A barrier, 
which divides the course into two 
parts, like the Roman spina, but more 
simple, and less decorated, consisting 



of a plain bank of earth (xm/ulo), as 
may be inferred from Pausanias (vi. 
20. 8.). F. The goal round which 
the chariots turned (l inaa, Kafirrrnp, 
meta) ; there probably was a similar 
one at the opposite end of the spina, 
as in the Roman Circus. GG. The 
space occupied by the spectators, 
usually formed in steps cut out on 
the side of a mountain ; or, if the 
course was in a flat country, formed 
upon a bank of earth (y^f.") thrown 
up for the purpose ; but not upon 
vaulted corridors, forming an archi- 
tectural elevation, like a Roman cir- 
j cus. One side is observed to be 
longer than the other, which was the 
case at Olympia (Pans. /. c), and pro- 
bably in most other places, in order 
to give all the spectators an equal 
sight of the race. In the centre of 
the space occupied by the stalls was 
a temporary altar (a), upon which a 
large bronze eagle was placed ; and 
on the point of the prow (b) a similar 
figure of a dolphin, both of which 
were worked by machinery, and em- 
ployed to inform the concourse of the 
moment when the race was about to 
commence ; the first, by rising up 
into the air, the other by plunging on 
to the ground in front of the assembled 
multitude. Pans. /. c. 

HIPPOPE'RA {'iTTTTOTTilpa). A 

saddle-bag for travellers on horseback, 
but used in pairs, so that the plural 
number is applied when the equipage 
of a single person only is referred to. 
Sen. Ep. 87. 

HIPPOTOX'OTA (tirivoTolorr}^. 




HIRNEA. 

A mounted archer (Hirt. B. Afr. 19.) ; 
in most cases characteristic of foreign 
nations, as the Syrians (Cses. B. C. 
iii. 4.), Persians (Herod, ix. 49,), 
&c. ; but men thus equipped appear 
to have been used amongst the light 
horse of the Greeks (Aristoph. Av. 
1 179.), and of the Romans; at least 
under the empire, as testified by the 
annexed figure, which represents a 
Roman cavalry bowman in the army 
of Antoninus, from the column of 
that emperor. 

HIR'NEA. An earthenware ves- 
sel used for culinary purposes (Cato, 
R. R. 81. Plaut. Amph. i. 1. 273. 
and 276.) ; but of which the distinc- 
tive properties are unknown. 

HIRNELLA. Diminutive of 
Hirnea ; employed at the sacrifice. 
Festus, s. Irnella. 

HIS'TRIO. A word of Etruscan 
origin, which, in that language, sig- 
nified a pantomimic performer and 
dancer on the stage (Liv. vii. 2.) ; 
but amongst the Romans was used 
in a more general sense, like our 
term actor, to signify any dramatic 
performer who delivered the dialogue 
of a play, with appropriate action 
(Cic. Fin. iii. 7.). including both 
actors of tragedy (Plin. H. N. xxxv. 
46.) and comedy. Plin. H.N. vii. 54. 

HOPLOM'ACHUS (ot^o^y/h-). 
Generally one who fights in a com- 
plete suit of heavy armour, or, as we 
say, armed cap-a-pie ; but specially 
used to designate a gladiator who 
wore such armour (Suet. Cal. 35. 
Mart. viii. 74. ) ; and as that was a 
characteristic of the Samnite, it is 
believed that the present term was 
only a new name brought into vogue 
under the empire for a gladiator of 
that description. See Samnitis. 

HORA'RIUM. (Censorin. De Die 
Nat. 24.) Same as Horologium. 

HOR'IA. A small boat employed 
by fishermen on the sea-coast (Non. 
s.v. p. 533. Plaut. Rud. iv. 2. 5. 
Gell. x. 25.) ; the peculiarities of 
which are unknown. 

HOR'IOLO. Diminutive of 



HORREUM. 339 

Horia ; usee! on rivers. Plaut. Trin. 
iv. 2. 100. Gell. x. 25. 

HOROLOG'IUM {('opo\6yiov). 
An hour-measure, or horologe ; a gene- 
ral term employed for any contrivance 
which marked the lapse of time, 
whether by day or night, and without 
reference to the agent employed ; 
consequently, including the various 
kinds of sun-dials {solaria), and 
water-glasses (clepsydra;), which are 
enumerated in the Classed index. 
Our term clock conveys an improper 
notion of the ancient horologium ; for 
the only instruments known to the 
ancients for performing the duties of 
a modern clock, were water-glasses 
and sun-dials. 

HORREA'RIT. Persons who had 
charge of the public bonding ware- 
houses and magazines, in which 
merchants and also private indivi- 
duals, who had not sufficient accom- 
modation of their own. deposited their 
merchandise and effects for safe cus- 
tody. Ulp. Dig. 10. 4. 5. Labeon. 
Dig. 19. 2. 60. § 9. 

HORR'EOLUM. Diminutive of 
Horreum. A small granary, or a 
barn for the storing of agricultural 
produce. Val Max. vii. 1. 2. 

HORR'EUM (wpfior). A granary, 
barn, or other building in which the 
fruits of the earth were stored (Virg. 
Georg. I. 49. Tibull. ii. 5. 84.) ; fre- 
quently constructed, like our own, 
upon dwarf piers, in order to keep 
the floor dry, and free from vermin ; 
in which case it was termed pensile. 
Columell. xii. 50. 3. 

2. A store room for wine in the 
upper floor of a house, where it was 
kept to ripen after it had been put 
into amphorce, or, as we should say, 
bottled. Hor. Od. iii. 28. 7. 

3. (a.7ro0iiicrj). A repository, store 
room, or lumber room, in which 
goods and chattels of any kind were de- 
posited for preservation, or to be out of 
the way, when not required for use ; 
books, for instance (Sen. Ep. 45.) ; sta- 
tues (Plin. Ep. viii. 18. II.); agricul- 
tural implements (Columell. i. 6. 7. ), 8tc. 



340 



H0RTAT0R. 



HORTUS. 



4. Horreum publicum {<siTotyv\a- 
Ktioi ). A public granary, in which 
large stores of corn were kept by the 
state, in order that a supply might 
always be at hand in times of scarcity, 
to be distributed amongst the poor, 
or sold to them at a moderate price. 
P. Victor, de Reg. Urb. Rom. Com- 
pare Liv. Epit. 60. Veil. Pat. ii. 6. 3. 
Plut. Grace h. 5., from which pas- 
sages we learn that the first notion of 
building these granaries originated 
with C. Sempronius Gracchus. 

5. A bonding warehouse, where 
persons of all classes could deposit 
their goods and chattels, whether 
merchandise or personal property, 
such as furniture, money, securities, 
or valuables of any kind, for safe 
custody. This was also a public 
building, as well as the last mentioned, 
and each quarter {regio) of the city 
was at one period furnished with a 
separate warehouse for the use of 
the neighbourhood. Lamprid. Alex. 
Sev. 39. Ulp. Dig. 10. 4 5. Paul. 
Big. 34. 2. 53. Modest, ib. 32. I. 82. 

HORTATOR {wXavarnc), On 
board ship, the officer who gave out 
the chaunt (celeusma), which was 
sung or played to make the rowers 
keep the stroke, and, as it were, 




encourage them at their work (Ovid. 
Met. iii. 619. Compare Virg. JEn. 
v. 177. Serv. ad /.), whence the 
name (solet hortator remiges hortarier, 
Plaut. Merc. iv. 2. 5.). He sat on 
the stern of the vessel, with a trun- 
cheon in his hand, which he used 
to beat the time, as represented in 
the annexed engraving, from the 
Vatican Virgil. 
HORTULA'NUS. A nurseryman, 



seedsman, or general gardener. (Ma- 
crob. Sat. vii. 3. Apul. Met. iv, 
p. 64. ix. p. 199.) It is also pro- 
bable that the same name was used to 
designate a florist, or flower gardener, 
as contradistinguished from topia- 
rius, who attended to the shrubs and 
evergreens, and from olitor, the kit- 
chen gardener ; for we do not meet 
with any other name to designate the 
person who pursues this branch of 




the gardener's art ; though it is clear, 
from the annexed engraving, which 
is copied from a fresco painting in 
the palace of Titus, that flower gar- 
dening was a favourite occupation in 
his day ; and the original design 
shows many other gardening opera- 
tions, besides the two of potting and 
planting out, exhibited in the above 
specimen. 

PIOR'TULUS (KTiTrwv). Diminu- 
tive of HoRTUS. Catull. 61. 92. 
Juv. iii. 226. 

HORTUS {icfjiroc). A pleasure- 
ground or garden ; which, from the 
descriptions left us, appears to have 
been very similar in style and ar- 
rangement to the garden of a modern 
Italian villa. Where space permitted 
it was divided into shady avenues 
{gestationes) for exercise in the sedan 
or palanquin {sella, lecticd) ; rides for 
horse exercise {hippodromus) ; and 
an open space {xystus) laid out in 
flower beds bordered with box, and 
interspersed with evergreens clipped 
into prim forms or fanciful shapes, 
with taller trees, fountains, grottoes, 
statues, and ornamental works of art 
distributed at fitting spots about it. 
(Plin. Ep. v. 6.) This sketch of 
Pliny's garden might also pass for a 
faithful description of the pleasure 
grounds belonging to the Villa Pam- 
fili at Rome. 



HOSPITIUM. 



HYDRALETES. 34 1 



2. The same term also includes the 
kitchen garden ; the manner of ar- 
ranging which, its cultivation,, and 
the different kinds of vegetables 
grown in it, are detailed at great 
length by Columella, xi. 3. 

3. Hortus pensilis. A moveable 
frame for flowers, fruits, or vege- 
tables placed upon wheels, so that it 
could be drawn out into the sun by 
day, and removed under the cover of 
a glass-house at night. Plin. //. N. 
xix. 23. Compare Columell. xi. 3. 52. 

4. Horti pensiles. In the plural, 
hanging gardens ; i.e. , artificially 
formed, in such a manner that the 
beds are raised in terraces one over 
the other, like steps, supported, or, as 
it were, suspended, upon tiers of 
vaulted masonry or brickwork, like 
the seats of a theatre. Plin. H. N. 
xxxvi. 20. Compare Curt. v. I. 

HOSPIT'IUM. A general term 
for any place which affords to a 
traveller or stranger the temporary 
accommodation of board and lodging, 
whether it be the house of a friend, 
a public inn, or a hired lodging. 
Cic. Phil. xii. 9. Id. Senect. 23. 
Liv. v. 28. 

2. The quarter occupied by a sol- 
dier who is billeted on a private in- 
dividual. Suet. Tib. 37. 

HOS'TIA {hpuov). A victim 
sacrificed to the gods ; properly, as a 
peace-offering to avert their wrath, 
as contradistinguished from victima, 
which was offered as a thanksgiv- 




ing for favours received. Victims 
consisted mostly of domestic ani- 



mals, such as oxen, sheep, pigs, &c, 
and when sacrificed to the Gods of 
Olympus, they were slain with the 
head upwards, as in the example, 
from the Vatican Virgil ; when of- 
fered to the deities of the lower re- 
gions, to heroes, or to the dead, with 
the head towards the earth. The 
larger ones were first stunned by a 
blow of the mallet from the hand of 
the pofia, as in the annexed en- 
graving, from a Roman bas-relief, 




the smaller ones were stuck in the 
throat by the cultrarius, as shown by 
the first woodcut. 

HUMATIO {icnropi^). Strictly 
speaking, interment ; i.e., in a grave 
dug in the earth, which was the most 
ancient manner of disposing of the 
body after death, and amongst the 
Romans continued to be the prevalent 
custom until a late period of the 
republic ; but the word is also used 
in a general sense for any other mode 
of burial, because the practice of 
throwing a small quantity of earth 
upon the bones and ashes was adopted 
when the general custom of inter- 
ment had been relinquished. Cic. 
Leg. ii. 22. Id. Tnsc. i. 43. Plin. 
H.N. vii. 55. 

HYDRAL'ETES (vSpaXhrjc.) A 
mill for grinding com driven by 
water instead of cattle or men ; which 
appears to have been first used in 
Asia (Strabo, xii. 3. § 30), and not 
introduced into Italy before the time 



;42 



HYDRA ULA, 



HYP&TRUM. 



of Julius Caesar, at the earliest, and 
then only by a few private indivi- 
duals. (Vitruv. x. 5. 2. Compare 
Pallad. R. R. i. 42.) The earliest 
mention of public water mills is about 
A. D. 398, under Arcadius and 
Honorius (Cod. Theodos. 14. 15. 4.), 
which were supplied by the aqua- 
ducts : and the use of floating mills 
was invented by Belisarius in the 
year 536, when Vitiges besieged the 
city, and stopped the mills, by cutting 
off the water supplied by the aque- 
ducts. (Procop. Goth. i. 9.) From 
the passage of Vitruvius (/. c), we 
learn that the hydraletes was very 
similar in operation to the common 
water-wheel {rota aquaria) ; a large 
wheel furnished with float boards 
{pinnce), which turned it with the cur- 
rent, and thus acted upon a cog- 
wheel attached to its axle, by means 
of which the mill-stone was driven, 
as explained s. MOLA. 

HYDRAU'LA and HYDRAU'- 
LES (vSpau\j]c). One who sings 
or recites to an accompaniment upon 
the hydraulic organ. Pet. Sat. 36. 
6. Suet. Nero, 54. ■ 

HYDRAU'LUS {vSpavXot; or -ic). 
A water organ (Cic. Tusc. iii. 18. 
Plin. H.N. ix. 8. Vitruv. x. 13.) ; 
in which the action of water was 
made to produce the same effect 
upon the bellows as is 'now procured 
by a heavy weight. The instrument 
is rudely indicated by the annexed 
engraving, from a contorniate coin of 
the Emperor Nero ; and in the col- 




lection of antiquities bequeathed to 
the Vatican by Christina of Sweden 




there is a medal of Yalentinian, 
which has a representation of a similar 
instrument on the reverse, accompa- 
nied by two figures, one on each side 
who seem to pump the water which 
works it. It has only eight pipes, is 
placed upon a round pedestal, and, 
like the present example, affords 
no indication of keys, nor of any 
person performing upon it ; whence 
it has been inferred that these organs 
were only played by mechanism. 

HY'i)RlA(vSpta). A water pail, 
or water can for holding 
clean water ; more es- 
pecially used to desig- 
nate such as were of 
a superior description 
(Cic. Verr. iii. 19.), of 
bronze or silver, and 
of costly workmanship, 
like the annexed example, from a 
Pompeian original. 

2. In a more general sense, any 
kind of vessel for holding water ; 
whence also used for the urn filled 
with water from which the names of 
the tribes or centuries were drawn 
out by lot. for the purpose of assigning 
to each one its right turn in voting ; 
otherwise, and more specially 
termed Sitella. Cic. Verr. iii. 15. 

HYP.ETH'ROS {vitaiQpoc). Lite- 
rally, under the sky, or in the open 
air ; whence applied to a temple, or 
other edifice which had no roof over 
the central portion of its area, so 
that the interior was open to the 
sky. Hypaetheral structures were 
generally the largest and most mag- 
nificent of their kind ; indeed, the 
difficulty of roofing over a very large 
area may be regarded as a principal 
motive for adopting the expedient. 
The great temple at Paestum affords 
an existing specimen of this style ; 
but no instance was to be found in 
Rome when Vitruvius wrote. Vi- 
truv. hi. 2. 

HYP^TRUM. A latticed win- 
dow constructed over the grand en- 
trance door of a temple (Vitruv. iv. 
6. I.), as in the annexed example, 



HYPKRTHYRUM. 



H YPOCA US TUM. 343 



which represents the door of the 
Pantheon at Rome. One of the 
Xanthian marbles in the British 
Museum affords an example of the 




same contrivance, which possesses the 
double advantage of giving grandeur 
without, and admitting air within. 

HYPER'THY RUM {vmp9vpoi>). 
An ornamental member, consisting 




of a frieze and cornice supported 
upon trusses or consoles {ancones, 
parotides), usually placed above the 
lintel of a door-frame in temples and 
other great buildings (Vitruv. iv. 6. 
4.) ; an example of which is given in 
the annexed engraving, with one of the 
trusses in profile by its side, from the 
temple of Hercules at Cora. It is con- 
structed precisely as Vitruvius directs 
in the passage cited : and the pre- 
ceding woodcut affords an example 
of a similar ornament, but differently 
designed, placed over the hypcetrum, 
in the Pantheon at Rome. This 
member was intended to increase the 



apparent size of the doorway, in 
order to preserve the level of the 
horizontal line formed by the archi- 
trave of the pronaos and the antae ; 
whence it is directed that the top of 
the cornice of the hyperthyrum 
should coincide with the tops of the 
capitals belonging to the columns and 
antae of the pronaos. If the doorcase 
itself were made thus high, the valves 
would often be ill-proportioned, and 
cumbersome to open. 

HYPOCAU'SIS {V7r6,cavaig). A 
furnace with flues running under- 
neath the floor of an apartment 
in a private house or set of baths, for 




the purpose of increasing the tempe- 
rature of the air in the chamber 
above. (Vitruv. v. 10. I. and 2.) 
It is very plainly shown in the an- 
nexed engraving, representing the 
sectional elevation of a bath-room, 
discovered in a Roman villa at 
Tusculum ; the small arch on the 
left shows the mouth of the furnace 
{propnigeuni), over which are placed 
vessels {vasaria, Vitruv. /. r.), con- 
taining hot and tepid water, which it 
served to heat ; and under the floor 
of the room, which is supported upon a 
number of low and hollow tubes, there 
is a vacant space, throughout which 
the hot air from the hypocansis circula- 
ted, and warmed the chamber above. 

HYPOCAUSTUM (vTroKavvror). 
A room, of which the temperature is 
warmed by means of a furnace and 
flues {hypocausis) directed under it, 
as represented by the last engraving, 
Plin. Ep. ii. 17. 1 1, and 23. Compare 
Stat. Sylv. i. 5. 59., where the word 



344 



HYPOCRITA. 



J LUX. 



seems to be applied to the flues under 
the chamber rather than to the cham- 
ber itself. 

HYPOCRITA, or -TES {vttokpi- 
T7)g). An actor or performer who 
plays a part upon the stage. (Suet. 
Nero, 24. Compare Quint, xi. 3. 

7. ) The word is properly a Greek 
one ; and corresponds with the Latin, 
his trio. 

HYPODIDAS'CALUS {tnrohM- 
cncaXoc). A sub-master, or under 
teacher ; at a school (Cic. Fam. ix. 
18.) ; of a Greek chorus. Plat. Ion. 

536. A. 

HYPOGAE'UM (viroyawv). (In- 
script. ap. Don at. cl. 8. n. 14. ap. 
Grut. 1 1 14. 3.) Same as 

HYPOGE'UM {vwoyaov). That 
part of a building which lies below 
the level of the ground (Vitruv. vi. 

8. ); whence a subterranean vault in 
which the Greeks buried their dead 
without burning the body (Pet. Sat. 
iii. 2.) ; consequently, corresponding 
with the Roman Conditorium. 

HYPOTRACHE'LIUM (virorpa- 
Xn^ioi'). The uppermost part of the 
shaft of a column, where it is of the 
smallest diameter, immediately under 
the neck of the capital. Vitruv. iii. 
3. 12. Id. iv. 7. 3. 

I. 

IATRALIPTA, or -TES (larpa- 
Xf'nrrrjc.) A medical man who 
treated his patients upon what was 
called the iatraliptic system {latra- 
liptice, Plin. H. N. xxix. 2. ) ; u e. , 
by the external application of un- 
guents and friction, combined with a 
regular gymnastic regimen. Plin. 
Ep. x. 4. Cels. i. 1. 

ICHNOGRAPH'IA (Ixvoypafa). 
A chart, map, or ground-plan, made 
in outline by architects and survey- 
ors for the workmen to build by, or 
as a map of reference, (Vitruv. i. 
2. 2.). The annexed engraving af- 
fords a specimen of Roman mapping, 
from a plan of the city engraved upon 



slabs of marble, originally forming 
the pavement of the temple of Romulus 
and Remus ; many fragments of which 



CVS L'CWUE ZT h£ ■' 



A EDtS lOVis 




are preserved in the Capitol. It is 
supposed to have been executed in the 
age of Septimius Severus ; and when 
entire, afforded a complete guide to 
the city, in which every street, house, 
and public edifice was laid down in 
its proper place, and in sufficient detail 
to show its ground-plot and architec- 
tural design, together with the name 
of each inscribed upon it. The fragment 
here introduced shows the original 
plan of the portico of Octavia surround- 
ing the Temples of Jupiter and Juno ; 
of all which buildings considerable 
remains are still standing near the 
present fish market. The dotted lines 
are only cracks in the marble. Other 
specimens from the same plan are | 
presented at pp. 67. 248. and other I 
parts of this work, some of which 
indicate the great skill with which the 
ancient draughtsmen contrived to 
express constructive forms by a few- 
simple outlines. 

IGXISPICTUM. A branch of 
the art of divination, which consisted 
in foretelling the secrets of futurity by 
the inspection of ignited matter. 
(Pin. H. N. vii. 57. Compare Sen. 
Ed 306 — 330.), where the various ap- 
pearances of the flames, and the results 
supposed to be indicated by them, are 
set out at length. 
I ILLIX or INLEX, sc. Avis { tto- 



IMAGIXARII. 



IMBREX. 



345 



Standard bear- 

i 



Xsvrrjs). A decoy bird, employed by 
the ancient fowlers to entice others 
within reach of their nets and snares. 
For this purpose they made use both 
of those which were of a kindred and 
of a hostile species, such as the owl 
and falcon, which last was also trained 
to catch the bird which it had decoyed 
within its reach. (Plaut. As. i. 3. 68. 
Pallad x. 12. Mart. xiv. 216. Oppian. 
Cyneg. i. 65.) The illustrations at p. 
59. s. Arundo, 4. afford two ex- 
amples of the use of a call-bird, from 
ancient works of art. 

IMAGINA'RIT. 
ers in the Roman 
Imperial armies, 
whose ensigns had 
an image of the 
emperor amongst 
the other devices 
(Veget. Mil ii. 7.), 
as seen in the 
annexed woodcut, 
from the column 
of Trajan, in 
which the empe- 
ror's portrait oc- 
cupies the top 
place, surrounded 
by a wreath of 
laurel. 

IMAGINIF'ERI. 
ii. 7. Inscript. ap. Grut. 1 107. 
Same as the preceding. 

IMA'GINES MA JO' RUM. 
Family portraits, or likenesses, con- 
sisting of waxen masks, expressing 
the lineaments of deceased persons, 
which their surviving relatives pre- 
served with studious care in cases or 
armoires placed round the atrium of 
their mansions, regarding them as 
the honoured representa- 
tives of their ancestral 
line. (Liv. iii. 58. Sail. 
Jug. 85. Suet. Vesp. 1.) 
The mask in the annexed 
woodcut, from a se- 
pulchral bas-relief, which 
represents a female be- 
wailing the death of her husband, is 
probably intended for one of these 




(Veget. 




images in its case. The honorary 
distinction of handing themselves 
down to posterity by these represent- 
ations, was only permitted to certain 
persons amongst the Romans ; viz. 
those who had passed through either 
of the high offices of aedile, praetor, 
or consul ; and when the funeral of 
any individual of the above rank and 
ancient lineage took place, the masks 
were taken out of their cases, and 
worn by persons who walked in front 
of the bier, in a similar costume, and 
with the same insignia as had be- 
longed during their lives to the person- 
ages they represented. (Eichstadt. 
Dissertt. de Imagg. Rom.) These were 
called the effigies {effigies) of the 
family ; and they personated charac- 
ters even of the heroic ages, — ^Eneas, 
the Alban kings, Romulus, &c. (Tac. 
Ann. iv. 9. Compare Polvb. vi. 
53. Hor. Epod. 8. 2.) It will be 
self- evident that no authentic or 
contemporary likeness of any indivi- 
dual ascribed to such remote anti- 
quity could ever have been in exis- 
tence, even though we should admit 
that the original was a real historical 
person : but there is no doubt that 
the great Roman families preserved 
characteristic representations of their 
early, and even fabulous, ancestors, 
modelled in lineament and costume 
after some traditionary type, well 
known to, and immediately recognized 
by, the people at large, which are 
met with on coins, medals, and en- 
graved gems (<?. g. the head of Numa 
s. Barbatus) ; precisely as all mo- 
dern representations of the Saviour 
exhibit a particular identity of cha 
racter, style, and features, which 
though not professing to be genuine 
likenesses, are still formed after a 
traditionary model of very great an- 
tiquity. 

IMBREX {xa\v7rriip). A ridge- 
tile made to receive the shower {imber), 
and of a semi-cylindrical form, as 
contradistinguished from tegtda, which 
was flat. (Isidor. Orig. xix. IO. 15. 
Plaut. Most. 1. 2. 26.) The imbrex 



346 



I MB RICA TIM. 



IMPEDIMENTUM. 



was intended to cover the juncture 
of'two flat tiles, and con- — rf ' TTT 1|=|~ 
sequently, was made j| lfl|p 
broader at one end, so as ... |fa 
to lap over the one below [>s-^J| 
and form a continuous '^\~~ 
ridge down the sides of f|| |fc 
the roof (woodcut s. Im- jjl — JjBi 
BRICATUS), which threw _^^H^S, 
off the rain water fron its hog's back 
into the channel formed by the tegulce, 
between each row of imbrices. The 
modern Italian architects use tiles of 
the same description ; two of which 
are represented by the annexed en- 
graving, which shows their form, and 
the manner in which they were, fitted 
to one another. 

2. Imbj-ex supinus. A gutter formed 
by a series of ridge-tiles fitted into 
one another, and laid upon their backs 
(Columell. ix. 13. 6. Compare ii. 2. 




9.), as in the annexed example, which 
shows a water conduit in the ruin, 
commonly known as the grotto of 
Egeria near Rome. 

IMBRICA'TIM. Formed in un- 
dulations like the imbrices of a roof. 
Plin. H. jV. ix. 52., and next woodcut. 

IMBRICATUS. (From imbrico, 
Ka\vTTTt]piZ,M). Imbricated, in archi- 
tecture ; that is, having the roof co- 
vered with a series of flat and ridge- 
tiles {tegulce and imbrices) • the usual 
manner in which the Greeks and 
Romans protected the timber-work 
in the roofs of their buildings, and 
of which a specimen is afforded by 
the annexed engraving, represent- 




ing the roof of the portico of Octa- 



via at Rome, the tiles of which are 
made of white marble. 

IMMISSA'RIUM. A basin, trough, 
or other contrivance built upon the 
ground, of stone or brick, and in- 
tended as a cistern to contain a body 
of water flowing from the reservoir 
{castellum) of an aqueduct, for the 




accommodation of the adjacent neigh- 
bourhood. (Vitruv. viii. 6. 1.) It 
differs from cister/ia, which was un- 
derground ; and is shown by the 
annexed, engraving, from a specimen 
at Pompeii. The high vaulted build- 
ing is the reservoir, from which the 
water flowed through the small dark 
aperture at its bottom, into the square 
stone trough (immissarium) on the 
level of the pavement. The city of 
Pompeii is furnished with several 
other conveniences of this description. 

I M M OLA'TUS. Accurately 
speaking, means sprinkled with flour 
(mola salsa), in reference to a victim 
intended for the sacrifice, this being 
one of the usual ceremonies before it 
was slain (Cato ap. Serv. ALri. x. 
541.) ; whence the word came to be 
used in the less special sense of our 
term immolated, or killed in sacrifice. 
Hor. Od. iv. 11. 7. 

IMPA'GES. The broad trans- 
verse band in a door, which stretches 
from stile to stile, and divides the 
pannels horizontally from one an- 
other, technically called by our car- 
penters the rail. (Vitruv. 6. iv. 5., 
and Janua,) where the component 
parts which form the leaf of a door 
are illustrated and explained. 

IMPEDIMEN'TUM {rd (Tictvr]). 
The baggage of an army which was 



I MP EDIT I . 



1NA URIS. 



347 




transported in waggons, or on beasts 
of burden (Cses. B. G. i. 26. Liv. 
xliv. 27.) ; including also the baggage 
waggons, and the beasts which drew 
them. Caes. B. G vii. 45. Front. 
Strateg. ii. I. II. 

IMPEDI'TI. In military phrase- 
ology soldiers who marched with a 
heavy load of arms,, pro- 
visions, and personal bag- 
gage (sarcina), as was 
the ordinary practice in 
the Roman armies (Caes. 
B.G.i. 12.), and shown 
by the annexed example 
from the column of Tra- 
jan. The soldier wears 
his heavy armour ; his 
shield on the left arm, 
slung in front, from the right shoulder, 
while his personal necessaries, imple- 
ments for cooking, and vessels for 
eating and drinking are made into a 
pack and carried on the top of a pole. 
The men thus loaded are opposed to 
Expediti ; which compare. 

IMPIL'IA (IfiiriXia, Hesych. 1 ). 
Thick and warm coverings for the 
feet, made of a felted fabric (Plin. 
H.X. xix. 10 , and U-lp". Dig. 34. 2 25., 
in which passage they are distin- 
guished from fascia crurales, and from 
Mlitles), but whether in the nature of 
stockings, socks, or shoes, there are 
not sufficient data to determine. 

IMPLU VIA'TUS. A term 
used to designate some particular 
kind of garments worn by females 
(Plaut. Epid. ii. 2. 39.); but as it 
only occurs in reference to a tempo- 
rary fashion, it is impossible to say 
from what caprice the term may 
have sprung, or what peculiarity it 
was intended to describe. Some refer 
it to the form, viz. square, like the 
imphivium of a house (Tumeb. Advers. 
xiv. 19.) ; others tothecolour, verydark 
and dingy, like the water which drips 
down from the roof of a house into the 
impluvium (Non. Marc. ^. v. p. 548.) ; 
both conjectures littleto be depended on. 

IMPLUVIUM. A large square 
basin sunk in the floor of the atrium 



in private houses, intended as a re- 
ceptacle for the rain water which 




flowed in through the compluvium, or 
opening in the roof of the same. 
(Varro, L.L. v. 161. Festus, s.v. 
Plaut. Amp/i. v. i. 59. Liv. xliii. 13. 
Cic. Yerr. ii. I. 23). The illustration 
represents the impluvium as now seen 
in the house of Sallust at Pompeii ; 
a roof is restored to the apartment in 
order to show the manner in which 
the rain would enter through the 
compluvium above. 

2. In some passages the word ap- 
pears to be used in the same sense as 
compluvium (Plaut. Mil. ii. 2. 4. Ter. 
Eutt. iii. 5. 41. Vitruv. vi. 3. 6.) ; 
but there is good reason for doubting 
the accuracy of these readings, and 
most of the best editions have adopted 
compluvium in its place. 

INAR'CULUM. Same as Ar- 
CULUM. i. Festus, s. v. 

INAU'RIS (f/\X6/3/oj-, Ivi'mov). An 
car-ring fastened to the ear through a 
hole {Jenestrd) bored in the lobe ; 
very generally worn by the women 
of Greece and Italy (Isidor. Grig. 
xix. 31. 10. Plaut. Men. iii. 3. 17.), 
but not by males, as they were amongst 
some barbarous nations ; though Isi- 
dores says (/. c.) that the Greek 
youths wore a 
single ear-ring 
in one ear. 
These orna- 
ments were 
made in every 
conceivable va- 
riety of pattern 
and value, of 
gold, pearls, precious stones, &c. ; and 




34$ INCERNICXJL UM. INC I TEG A. 



With or without drops (stalagmia), as 
may be seen by the numerous speci- 
mens preserved in most cabinets of 
antiquities. The example introduced 
shows an ear-ring of the simplest 
kind, from a Pompeian painting, con- 
sisting of a plain gold ring of con- 
siderable size, such as is commonly 
worn by the female peasantry of Italy 
at this day ; but many other speci- 
mens of a more elaborate and valuable 
character are interspersed in different 
parts of these pages. 

INCERNIC'ULUM (r*Ai'«), 
Usually translated a sieve ; but Luci- 
litls {Sat. xxvi. 70.) and Cato (R. R. 
13. r.) both make a distinction' between 
the two words cribrum and incernicu- 
lum, though neither of them gives any 
details by which we might ascertain 
in what the difference consisted. A 
passage of Pliny (If. A r . viii. 69.) 
compared with Aristotle (U. A r . vi. 
24.), suggests a more fitting interpre- 
tation, and leads to the conclusion that 
the incernicuhim was not a sieve at all, 
but a large tray, chest, or perhaps 
basket, in which the corn dealers 
brought their samples of corn to 
market, after it had been sifted and 
cleared from the chaff. 

INCI'LE. A tributary or branch 
drain or ditch, whether for the purpose 
of conveying water from a common 
source into the lands for irrigation, 
or for conducting it from different 
parts of the land into the main 
channel. Festus, s. v. Cato R. R. 
155. I. Columell. v. 9. 13. Apul. Met. 
ix. p. 182. 

INCINCTUS. In a general sense 
girded or encircled by a thing (Cic. 
Acad. iv. 38.) ; thence wearing a 
girdle round the tunic (Ov. Fast. ii. 
634. ClNGULUM and illustrations) ; 
and especially having the toga twisted 
round the body in the peculiar manner 
called the gabine cincture. Liv. viii. 
46. Cinctus 3. and illustration. 

INCISU'RA. A term used by 
the Roman painters to express what 
is now technically called hatching by 
our engravers and artists (Plin. H. N, 



xxxiii. 57.); which is produced by 
making separate strokes with the 
brush, like those of an engraving or 
chalk drawing, over the flat tints, in 
order to deepen the tone, give trans- 




parency, and form a half-tint between 
the light and shade. The expedient 
of hatching is never resorted to in oil 
painting, because the colours blend 
easily by themselves ; but it is com- 
monly applied by the fresco painters 
both of the old Roman and modern 
Italian schools. Theillustration, which 
is a facsimile of a piece of sculptured 
pavement in thecathedral at Siena, will 
explain exactly what is meant by the 
term. If it were a fresco painting 
instead of an engraving, the darkest 
tint at the right hand side, between 
the head of the child and the drapery 
of the female figure, would be crossed 
over with a hatching of strongly marked 
lines as it is here, each one of which 
would form an incisnra ; the name 
being transferred from its original 
meaning, an indented line, like those 
in the palm of the hand (Plin. H. A T . 
xi. 114.), to one which resembled the 
same in its effect. 

INCITE'GA {l r yv9>)Kri) % . A bottle- 
stand or case for holding cruets, de- 
canters, and other vessels which had 
round or pointed bottoms so that they 
could not stand alone. (Festus, s. 7<. 
Fea ad Hot. Sat. I 6. 116.) Of 
course they were made of different 
forms, sizes, and patterns, in accord- 



IN CO MM A . 



INDUCULA. 



349 



ance with the particular use to which 
they were applied and the taste of the 
designer. The example introduced 
represents an earthenware cruet-stand 
with two glass bottles in it, from an 




original found in Pompeii, very simi- 
lar to those still in use ; but another 
kind very generally adopted was an 
open frame upon three or more legs, 
like our trivets, made of silver, bronze, 
or wood (Athen. Dcipn. v. 45), of 
which the excavations of Pompeii 
and Egypt have furnished various 
specimens. 

LNCOM MA. A word of doubtful 
authority, but supposed to imply a 
post with gradations of feet and inches 
marked upon it, by which the stature 
of conscripts was tested, in order to 
see that they did not fall short of 
the regular military standard. Gloss. 
Isidor. Veg. Mil. i. 5. Salmas. ad 
Lamprid. Alex. Sez 1 . 4. 

INCUNA'BULA. Includes all 
the objects which constitute the fur- 
niture of a cradle {cunabula) and of 
the infant in it ; viz. the mattress 
{pulvillus) on which it lays ; the cradle 
bands which prevent it from falling 
out, themselves termed incunabula 
specially by Plautus ( True. v. 13.) ; the 
swaddling clothes and bands (fascice), 
with which it was enveloped ; whence 
the same term is applied in a general 
sense for a cradle (Liv. iv. 36.), or a 
birth-place. Cic. Alt. ii. 15. 

INCUS {aicfiwv). An anvil, upon 
which smiths hammer 
out and fashion their 
work. (Plin. H. N, vii. 
57. Virg. ALn. vii. 629. 
Hor. Ovid, &c.) It had 
a projecting horn, upon 
which angular and circu- 
lar shapes were formed, 
and when used was placed upon 




a wooden block ; being in every 
respect similar to the instrument still 
employed for the same purposes, as 
shown by the annexed example, which 
is copied from an engraved gem. 

IND A'GO. A sporting term which 
expresses the surrounding of a wood 
or any given spot with nets, and per- 
haps also by a circle of beaters, in 
order to prevent the escape of the 
game, which, by this means, was 
brought to bay and slaughtered. Virg. 



.-En. iv. 121. Tibull. iv, 



Claud. 




in Rufin. 1 1. 376. 

INDEX (aiWrpos). The title of a 
book, which announced the subject 
treated in the work. (Cic. Att. iv. 4. 
Id. Or. 11. 14 Liv. xxxviii. 56. Suet. 
Cal. 49.) It answers to the title-page 
of a modern 
book, with this 
difference, that 
it was written 
at the end in- 
stead of the 
c o m mence- 
ment ; at least 
it is so placed in all the Herculanean 
MSS. which have been unrolled. It 
likewise answers to what is now 
called the lettering piece, attached to 
the back of the volume ; for it was 
sometimes written on a separate piece 
of parchment or papyrus, tinged of a 
red colour, with caecum or minium, 
and affixed to the centre of the roll, 
so as to hang down outside, and 
announce its contents, as in the 
annexed example from a painting at 
Pompeii. Iorio, Officina de 1 Papiri, 
del Real Mus. Borb. 

2. An inscription upon the base of 
a statue, upon a slab, or upon any 
object, recounting the actions, Sec. 
which such works were intended to 
commemorate. Tibull. iv. 1. 30. Liv. 
xli. 28. 

INDICTI'VUS. See Fuxus, 2. 

INDU'CULA. An under-garment 
worn by females : but whether of a 
general or special nature is uncertain. 
It certainly belonged to the Indutus, 
and probably meant a small tunic, or 



50 



INDUMENTUM. 



INDUTUS. 



chemise. (Plaut. Ep. ii. 2. 41.") Com- 
pare Non. s. Regilla, who quotes the 
same passage, but with the reading 
Tunicula. 

INDUMENTUM. A general term 
for any thing which is put 071 in the 
shape of clothing (Gell. xvi. 19. 3.), 
or to cover any part of the person ; 
a mask (Gabius Bassus ap. Gell. v. 7. ); 
a tunic (Aurel. Vict. Cces. 12.). 

INDUSIATUS. Wearing a frock, 
like the women's indusium (Apul. 
Met. ii. p. 33.) ; a costume which is 
probably represented 
on the annexed figure, 
from a bas-relief of the 
Florentine Gallery. It 
did not form a regular 
part of the male attire, 
though it was some- 
times given to young 
and effeminate boys who 
waited at the tables of 
wealthy or luxurious in- 
dividuals, who affected 
a refined style of dress 
for their attendants. It is of such 
that Apuleius speaks in the pas- 
sage cited. Com p. Apul. Met. viii. 
p. 172. 

2. Indusiata vestis. Plaut. Epid. 
ii. 2. 49. Same as 

INDU'SICJM. An article belonging 
to the Indutus of female attire, for 
which our term frock affords the best 
translation, and the closest analogy ; 





for it was worn over the chemise 



{subucula), had short sleeves, and was 
put on over the head in the same 
manner as that article of modern 
costume. (Varro. de Vit. Pop. Rom. 
ap. Non. s. Subucula, p. 522. Id.Z. L. 
v. 131.) It is derived from induo, 
not from tutus, a false etymology, in- 
vented by Varro (/. c), to suit which 
he writes the word ititusium. It 
was worn by females exclusively, 
for Varro distinctly enumerates it 
amongst the articles of their wardrobe; 
and is very plainly exhibited on both 
the annexed figures, which also show 
the subucula underneath it. In the 
larger one, representing the Flora of 
the Capitol, the right arm only is in- 
serted into the sleeve ; but the other 
armhole appears upon the left arm ; 
the edge of the skirt rests upon the 
hand, just as such a dress would do 
after it had been put over the head, 
and one arm had been drawn into 
the sleeve, before dropping it down 
to pass the other through the oppo- 
site sleeve in like manner. The small 
figure, from a statue of the Villa 
Borghese, shows a dress of the same 
description when properly put on, 
with a part of the subucula appearing 
underneath it, and a loose shoulder- 
strap (balteus) outside. 

I N D U'T U S (sV^jua. Alciphr. 
Ep. iii. 42. 10. Ael. v. H. iv. 22.) A 
general term (from induo) for any 
kind of close garment which a person 
puts on, or inserts his limbs or body 
into, as contradistinct from Amictus, 
which is expressive of 
loose clothing that is 
wrapped rotcnd the body. 
(Tac. Ann. xvi. 4. 
Apul. Flor. ii. 9. 1. Am- 
mian. xxx. 7. 4. Compare 
Cic. Or. iii. 32. Auct. ad 
Herenn. iv. 47.) It conse- 
quently designates any and 
every of the various kinds 
of under-garments w r ornby 
the ancients, and enumer- 
ated in the list of the 
Classed Index, both of the male and 
female apparel ; and is well illustrated 




INFUDIBULUM. 



JNFULA TUS. 



by the annexed figure from a fictile 
vase, which represents a female tak- 
ing off her chemise before entering 
the bath ; showing by the action she 
employs that the tunica was a round 
garment taken off and put on over 
the head, like a modern shirt or 
chemise. * 

INFUDIB'ULUM. Cato, R. R. 
10. i., for Infundibulum. 

INFRENA'TUS sc. Eques. One 
who rides without a bridle (frenum), 
as was the practice of the Numidian 
horsemen (Liv. xxi. 44'.), and some 
of the northern nations, whose horses 




were so docile and well broken that 
they could be managed by the voice, 
without rein or bit, as in the annexed 
example, which represents one of the 
allied cavalry in the army of Trajan, 
from the column which bears his name. 

2. As a participle of the verb In- 
freno, it has an exactly contrary sig- 
nification, meaning bitted and bridled. 
Liv. xxxvii 20. Sil. Ital. iv. 314. 

INFRE'NIS or INFRE'NUS. 
Virg. ACn. x. 750. iv. 41. Same as 
Infrenatus, 1. 

IN'FULA. A flock of wool dyed 
red and white, and knotted at regular 
intervals with a riband {villa), so as to 
form a long fillet, which was worn by 
the priesthood and vestals, employed 
as an ornament for the victim dressed 
for a sacrifice, and to decorate temples 
and altars upon festive occasions. 
(Virg. ALn. x. 538. Id Georg. iii. 487. 
Festus, s. v. Cic. Ver. ii. 4* 50. Lucan 



ii. 355.) It is frequently represented in 
sculpture, though the natural elasticity 
of the wool, swelling out between the 
ties which fasten the flocks at inter- 
vals, gives to such works a strong 
resemblance to a row of large and 




small beads strung together, foi 
which, in fact, it has been generally 
mistaken ; see the two next woodcuts, 
where this appearance is very decided, 
though upon inspection it will be clear 
that the forms are intended to repre- 
sent the same objects as those shown 
in the annexed engraving, which re- 
presents two genii making infulce, 
from a painting discovered at Resina. 
The number of flocks tied together to 
make a length also explains why the 
prose writers mostly use the word in 
the plural, infulce. 

INFULATUS. 
corated with in- 
fulce ; i. e., with 
flocks of wool tied 
up into a fillet, in 
the manner de- 
scribed by the last 
article. (Suet. Cal. 
2.7.) It was worn 
as a diadem round 
the head, with long 
ends hanging down 
on each side (Serv. 
ad Virg. x. 538.) by 
the vestals and other members of the 
priesthood, exactly as represented by 
the annexed example from a statue of 
Isis in the Vatican ; and by the victim 



Wearing or de- 




352 INF UNDIB UL UM. 



INSIGXE. 



[hostid) when dressed out for the sacri- 
fice (Varro, L. L. vii. 24. Inscript. 
ap. Orelli. 642.), which had its head 




and neck decorated in the same man- 
ner, as exhibited by the annexed 1 
example from a Roman bas-relief. 

INFUNDIB'ULUM foww/). A- 

funne/for conveniently trans- 

fening liquids from one ves- V 
sel into another. (Cato, R.R. L_w 
1 3- 3- Columell. iii. 18. Pal- % 
lad. Jicn 7. 2) The example ^ y 
represents a funnel, of the 1 J 
same construction as those | 
still in use, from an original U 
of glass discovered at Pompeii. 

2. A funnel, or hopper, as it is 
technically called, through which the 
corn to be ground was poured into a 
mill (Vitruv. x. 5. 2.) ; probably the 
upper one of the two stones which 
formed a Roman com mill, otherwise 
termed Catillus ; but compare the 
illustration s. Mo la, 2.. on the top of 
which there is an appurtenance, which 
may be intended for a hopper, with 
the corn pouring into it, though from 
the dilapidation of the marble, it now 
presents an appearance more like a 
name. 

IXFURXIB'ULUM. Same as 
t\\Qlufundibiilu??i ; (Plin. H. N. xxiv. 
85.), where it is applied to the purpose 
of inhaling steam for a cough ; for 
which the funnel above engraved 
would be sufficiently well adapted if 
the narrow end were placed in the 
mouth, and the other one over the 
object from which the steam arose. 

I X S C RI P'T US. Branded; in re- 
ference to a slave who had a stigma 



burnt into his forehead, to denote the 
offence which he had committed. 
Mart, viii. 75- 9- Compare Pet. Sat, 
103. 2. Id. 106. 1. 

2. Also, in a negative sense, un- 
marked ; in reference to merchandize, 
cattle, &c, when smuggled out of 
port, or across the frontier, without 
paying the proper duties, i. e., without 
having the excise or custom-house 
brand marked upon them. Lucil. Sat 
xxvii. 3. Gerlach. Varro, R.R. ii. I. 15. 

INSIC'IA and IXSIC'IUM. 
Minced meat or sausage meat (Varro, 
L. L. v. no. Macrob. Sat vii. 8. 
Donat. ad Ter. Eun. ii. 2. 26.) The 
word is also written/reVz^wby Apicius, 
of which themodern Italians retain the 
form in their nameforsausage, salsiccia 
corrupted from salisisicia, i.e., minced 
and salted. 

I X S I C I A' T U S. Stuffed with 
minced meat or stuffing. Apic. v. 4. 

IXSIC'IOLUM. (Apic. v. 4.) 
Diminutive of Insicium. 

IXSIG'XE. In a general sense, 
implies anything which serves as a 
sign, ornament, or badge, by which 
persons or thingsmaybedistinguished ; 
for example, the crest on a helmet, the 
device on a shield, the fasces of a con- 
sul, the sceptre and diadem of a king, 
the golden bulla of high-born children, 
and so on. 

2. {irapaarjjxov). In the navy it 
has rather a more special sense, being 
used to designate the figure-head of a 
ship, which was carved or painted on 
the bows, and imitated the person 




or object after which the vessel was 
named, as contradistinguished from 
Tutela, which was situated on the 
quarters, and represented the deity 



INSILE. 

under whose protection the vessel was 
supposed to sail. The example repre- 
sents the head of a vessel named 
Pistris in Virgil (Alii. v. ii6.), from a 
picture in the Vatican MS., intended 
to illustrate the passage cited ; which 
consequently is furnished with an image 
of that fabulous animal for its figure- 
head. All the other vessels in the 
picture have figures in a similar posi- 
tion, representing the objects after 
which they are named. 

IN'SILE. (Lucret. v. 1352.) The 
real meaning of this word is doubtful. 
Some think that it expresses the same 
object as the " treadle " of a modern 
loom, which is pressed down by the 
foot of the weaver to work the leash 
rods or "heddles," and make them 
decussate the warp. Schneider, on 
the contrary (Index. Sci'ipt. R. R. s. 
Tela), considers it to mean the hed- 
dles themselves, which move up and 
down as they open the warp. In both 
cases it is derived from insilio ; and 
must have reference to a horizontal 
loom, and not an upright one. which 
does not require any treadle, and in 
which the heddles do not move up and 
down, but backward and forward ; 
but, though a horizontal loom of a 
very primitive kind, and doubtless of 
a very ancient model, is still used in 
India, all the representations which 
remain to us of Egyptian and Roman 
looms are upright ones. 

IN'STIT A. An ornament at- 
tached to the stola of a Roman matron 
(Hor. Sat. i. 2. 29. Ov. A. Am. i. 
32.) ; the real character of which has 
not been satisfactorily ascertained, as 
it is not visibly expressed upon any 
work of painting or sculpture which 
has reached us. It is generally de- 
scribed as a sort of broad fillet, similar 
to the flounce of modern times, sewed [ 
onto the bottom skirt of the outer tunic, 
which, with this adjunct, then becamea 
stola ; in which case, the number of 
thick folding plaits in the annexed and 
many other figures, similarly draped 
in the stola, may be intended to repre- 
sent this flounce, though its juncture 



INS TIT A. 353 

with the tunic is concealed under the 
loose drapery of the amic/us, which 
covers the lower part of the under 
garment, as it here does, in all the 




statues and figures which are por- 
trayed in a corresponding costume to 
the present one. But an attentive 
consideration of the terms in which 
the article is mentioned by Horace 
and Ovid, compared with the figure 
here subjoined, 
believed to repre- 
sent Veturia, the 
mother of Corio- 
ianus, from a 
fresco painting in 
the Thermae of 
Titus, induces a 
confident belief 
that the ins tit a 
really was an ap- 
pendage more in 
the nature of a 
train, such as 
that so promi- 
nently exhibited behind the lower half 
of her drapery. Such an interpreta- 
tion would accord with the words of 
Hor., Sat. i. 2. 29., where he says that 
it was subsuta, sewed on under the 
girdle, and trailed behind so as to 
cover the back half of the feet, from 
the ankle joint. Hor. 1. c. Ib. i. 2. 
99. medios pedes. Ov. A. Am. i. 32. 

2. A fillet, or riband, which it 
was usual to tie round the top of the 
thyrsus under the foliaged head (Stat. 




354 • INSTJTOR. 

Theb. vii. 654.), as in the annexed 



example, from a Pompeian painting. 

3. {tovoi, iiTirovoi) In the plural ; 
the bands or cords interlaced across 
the frame of a bed or couch, to make 




a support for the mattress (Pet. Sat. 
97. 4.) ; as in the annexed example, 
from a terra-cotta lamp. 

4. Also, in a general sense, any- 
thing which serves as a band or band- 
age. Pet. Sat. xx. 3. 

IN'STITOR (TroAiyjca'jniXos). One 
who sells goods of any description on 
account of another person, or, as we 
should say, by commission, whether 
as a retail shopkeeper and agent, or 
as a traveller and hawker. Liv. xxii. 
25, Ov. A. Am. i. 421. Ulp. Dig. 14. 
tit- 3 

INSTRAG'ULUM. A coarse and 
common counterpane for a bed. Cato, 
R. R. x. 5. xi. 5. 

INSUB'ULUM (awiov). The 
cloth-beam of a- weaver's loom, round 
which the cloth is rolled, when woven 
to a greater length than the height of 
the loom. It goes by a similar name 
in Italy at the present day, where it 
is called il Sitbbio. - It was some- 
times placed at the top of the loom, 




as in the annexed example, from an 
Egyptian painting, where it is seen 
with the cloth rolled round it under 
the yoke (j'ugum) ; and sometimes at 



INTERCOL UMNIUM. 

the bottom, accordingly as the woof 
was driven upwards or downwards, 
by the comb or batten (pecten, spa- 
t/ia), both of which modes were 
practised by the ancients. Isidor. 
Orig. xxix. I. Gloss. Philox. Pollux, 
vii. 36. x. 125. Eustath. in Horn. Od. 
xiii. 107. Aristoph. Thesm. 822. 

IX'SULA. A house, or a cluster 
of contiguous houses, having a free 
space all round the collective pile, so 
that they formed a single and isolated 
mass of building, like an island in the 
water (Donat ad Per. Ad. iv. 2. 39. 
Festus, s. v. Cic. Off. iii. 16.) But 
as the houses composing an insula 
were let out in flats to different 
families, or comprised several distinct 
shops and tenements, the word came 
to be used in a less definite sense fin- 
ally hired lodging (Pet. Sat. 95. 3.), 
or house occupied by more than one 
family, as contradistinguished from 
domus, the private house or mansion 
only tenanted by a single person, the 
owner or his lessee. (Tac. Ann. vi. 
45. Suet. Nero, 16. 38. 44. Id. Jul. 
41.) The ground-plan, which occu- 
pies the second column at p. 250., 
affords an example both of an insula 
and a domus ; being an isolated patch 
of buildings sm-rounded on all sides 
by streets, and containing one private 
mansion, and eleven separate shops 
and tenements, each of which was 
occupied by a different tenant, as 
will appear by referring to the de- 
scription there given. 

INSULA'RII. Persons who live 
in hired lodgings (insula?). Pet. Sat. 
95- 8. 

2. Slaves belonging to the owners 
of house property (Pompon. Dig. 50. 
16. 166.) ; they performed the duties 
of house-agents and lodging-house 
keepers, and collected the rent for 
which they were liable to their 
masters, the landlords, if the tenant 
defaulted. Pompon, id. vii. 8. 16. 

INTERCOLUM'NIUM ( H sao^ 
arvXiov). The intercolumniation, or 
space between one column and an- 
other in a colonnade (Cic. Verr. ii. 



INTERMETIUM. 



intonsus. 355 



I. 19); which the ancient architects 
distributed at five different intervals, 
called respectively arceostylos, diasty- 
los, etistylos, sy stylos, pycnoslylos ; each 
of which is explained under its own 
name. 

INTERMETIUM. The long, 
low barrier between the goals {metce) 
of a racecourse (Gloss. Philox.), 
which divided the course into two 
parts, as will be seen by referring to 
the ground-plan of the Circus of 
Caracalla, p. 165., on which it is 
marked B. One side of the course, 
with an elevation of the intermetium 
and metce at the back, is shown by 
the annexed illustration, from an en- 




graved gem. The word, however, is 
only found in the Glossary above 
quoted ; but Visconti {Mus. Pie 
Clem. v. p. 244.) thinks that it was 
the name originally employed before 
the more modern one Spina was 
adopted, and again revived after that 
had fallen into disuse, or received a 
different application. 

INTERSCAL'MIUM. The space 
between thowl and thowl {scalmus) 




on the side of a vessel (Vitruv. i. 2. 
4. ) ; consequently represented on the 



outside by the space between one 
oar, or oar-port, and another. The 
illustration is from an ancient Roman 
fresco painting discovered in the 
Farnese gardens. 

INTERTIG'NIUM. The space 
between the ends of the tie beams 
{tigna B B B. in the example) which 
rest upon the architrave {trabs, A) in 
the timber work of a roof. (Vitruv. 
iv. 2. 2. and 4.) Six of these are here 
shown ; and in the earliest buildings 
these intervals were left open ; but, 
subsequently, they were covered ovei 
with slabs of marble, so as to form 




part of a continuous frit-ze {zophorus), 
or to form a metope {meiopa) in the 
Doric order. 

INTERULA. Seems to be iden- 
tical with Subucula, the innermost 
tunica {interior or intima), worn next 
the skin ; and is applied indiscrimi- 
nately to both sexes. (Apul. Flor. 
ii. 9. Id. Met. viii. p. 159. Vopisc. 
Prob. 4.) See the illustrations s. 
Indutus and Subucula. 

INTESTINA'RIUS. A mechanic 
employed in making what are now 
called the fittings in the interior of a 
house ; a carpenter and joiner. Cod. 
Theoi. 13. 4. 2. Inscript. ap. Mur. 
929 6. ap. Orelli. 4182. 

INTESTI'NUM, sc. opus. The 
fittings of wood in the inside of a 
house, such as doors, window frames, 
and shutters ; or carpenter and join- 
er's work. Vitruv. v. 2. Varro, 
P.P. iii. 1. 10. Plin. H.A'. xvi. 82. 

INTON'SUS (dKepa€ K 6fi V s). Un- 
shorn ; i, e., wearing long hair ; with 
an implied sense of usefulness ; 
for both the Greeks and Romans 
cropped their hair upon arriving at 
the age of puberty, after which pe- 
riod long hair was regarded as un- 



356 INTUSIATUS. 

manly ; excepting with reference to 
certain deities, such as Eros, the god 
of love, represented in the example, 
from a bronze of Herculaneum, 





Apollo, and Bacchus, to whom it is 
attributed as a sign of perpetual 
youth. Ov. Trist. iii. I. 60. Prop, 
iii. 13. 52. Tibull. i. 4. 36. 

2. (aicovpoc). Unshaven; i.e., 
wearing the beard at its natural 
length, which was 
the custom of the 
earlier ages, as in 
the annexed exam- 
ple, from an en- 
graved gem, in- 
tended to represent 
Numa ; whence, in 
after times, when 
shaving had become 
a general fashion, 
the word implies a 
rude, uncouth person, of antiquated 
manners. Hor. Od. ii. 15. 11. Ti- 
bull. ii. I. 34. Ov. Fast. ii. 30. Liv. 
xxi. 32. 

INTUSIATUS. The reading of 
some editors instead of Indusiatus ; 
which see. 

INTU'SIUM. The reading 
adopted by some instead of Indu- 
SIUM ; in which case the word would 
be derived from intus, and not from 
induo ; and then the meaning, ac- 
cording to this derivation of Varro 
{L.L. v. 131-), would be an inner 
tunic over an under one {subucula), 
but itself under some other garment ; 
which is not very intelligible. 

IRPEX. A "heavy rake set with 
a number of teeth {regula cum pluri- 
bus dentibus. Varro, L.L. v. 136. 
Festus, s.v. ), which was drawn by 



J ACTUS. 

oxen over the ground, like a harrow, 
to tear up the weeds. 

ISELAS'TICI LUDI. The games 
exhibited at the four great Grecian 
festivals ; viz., the Olympian, Isth- 
mian, Nemean, and Pythian, which 
were so termed because the victors at 
them {hieronicce) were conducted 
home with much pomp and ceremony 
to their native towns, which they 
entered in a triumphal car (dcrijXo- 
nar) drawn by four horses, and 
crowned with chaplets. Subsequently, 
however, other games besides these 
four were honoured with the same 
name. Vitruv. Prof. ix. I. PI in. 
Ep. x. 118. Compare Suet. Nero, 25. 

ISELAS'TICUM. The reward 
or stipend bestowed by the Roman 
emperors upon the champions at the 
Iselastic games. Trajan ad Plin. 
Ep. x. 119. 

ISOD'OMOS (i<r<>Soiioc). One of 
the styles of masonry adopted by the 
Greek architects, in which every 
stone was cut and squared to the 
same height, so that when laid, the 
courses were all regular and equal. 
(Vitruv. ii. 8. 6. Plin. H.N. xxxvi. 
51.) A specimen is exhibited by the 
annexed woodcut, representing a 




fragment of the old wall which 
formed the substruction of the Capi- 
toline temple, consequently, dating 
as far back as the legendary era of 
the Roman monarchy. 



J A C T U S. A throw of the dice. 
Each throw was distinguished by a 



J A CULA TORES. 



janua. 357 



particular name, according to the 
amount or nature of the numbers 
turned up ; as, Cam's or Canicula, 
Venus, Vulturius, Seuiones. Liv. iv. 
17. Ov. A. Am. iii. 353. 

2. A cast of the net ; i.e., the 
quantity of fish taken in it. Val. 
Max. iv. i. 7. extr. 

JACULATO'RES. Javelin men; 
furnished by the allies to the Roman 
armies, and so termed from the dart 
{jaculum) which they used, in con- 
tradistinction to the slingers and 
archers ( funditores, sagittarii) ; 
though all three were classed amongst 
the light-armed troops, and were em- 
ployed in the same service, to com- 
mence a battle by annoying the 
enemy with showers of their missiles. 
Liv. xxi. 21. xxxvi. 18. 

2. Fishermen who use the cast-net 
{jaculum). Plaut. op. Isidor. Orig. 
xix. 5. 2. 

JACULUM. A javelin or dart; 
which is thrown at a distance, not 
held in the hand for thrusting (Varro, 
L.L. vii. 57.) ; whence the name 
seems to be given indiscriminately 
by the Latin authors to many kinds 
of missiles, even to a spear when dis- 
charged from the hand as a missile. 
Liv. xxvi. 4. Cic. Tusc. 1. 42. 
Virg. sEn. ix. 52. with Serv. ad I. 

2. A cast-net used for taking fish 
(Ovid, A. Am. i. 763.), which differed 
in some manner from the funda ; for 
Ausonius {Epist. iv. 54.) mentions 
both these articles as a necessary 
part of a fisherman's fit out, but with- 
out affording any clue by which the 
difference can be traced. 

3. The net used by the retiarius 
(Isidor. Orig. xviii. 54.), who ham- 
pered an opponent by throwing it 
over his head, and despatching him 
with his trident, as shown and ex- 
plained s. Retiarius. 

4. Jaculus. A long rope with a 
noose at the end, like the lasso, em- 
ployed for catching steers out of a herd, 
when it was required to bring them 
into the homestead, and break them 
to the plough. Columell. vi. 2. 4. 



JANITOR (Oupujpo^). The door- 
keeper or porter ; a slave who kept 
the keys of the street door {janua), 
and sat in the porter's lodge at the 
entrance of a house. Cic. Verr. ii. 3. 
2. Plaut. Men. iv. 2. 115. 

JA'NITRIX. A duenna. (Plaut. 
Cure. i. 1. 76.), Bottiger and other 
writers infer from the above, and 
some passages of Tibullus (i. 6. 61. 
and i. 8. 76.), that female slaves were 
employed as doorkeepers, and ushers 
in the ante-rooms of their mistress's 
house. But such a notion seems highly 
improbable ; much more so than that 
the word is merely used in an allusive 
sense, as explained. 

JANUA {avXtiot; Qvpa). Strictly, 
the front or street door of a private 
house (Cic. A T .D. ii. 27. Serv. ad 
Virg. sEn. i. 449. Vitruv vi. 7. I.), 
as contradistinguished from porta, 
the gate of a town, &c, and from 
ostium, a door in the interior ; but 
these nice distinctions are not always 
observed. The illustration represents 




a doorway belonging to one of the 
houses at Pompeii, with the door 
itself, and panelling restored from a 
marble door in the street of the 



3 5 o JENTA C UL UM. 

tombs, carved in imitation of wooden 
panels. The whole design consists 
of the following component parts ; 
the sill, or threshold, raised a step 
above the pavement {limen) ; the 
lintel above {supercilium, jugumentum, 
or limen supernm) ; the door posts 
which support it (postes) ; the door 
leaves (/ares), each of which is com- 
posed of the following parts : two 
uprights, one on each side of the leaf, 
technically termed the "stiles'' by 
our carpenters (scapi) ; four trans- 
verse pieces, which our carpenters 
call the '•' rails" (impagines), dividing 
the whole into three separate panels 
{tympana). 

JENTAC'ULUM(a K p«mH- A 
break-fast ; the earliest of the daily 
meals. (Nigid. ap. Isidor. xx. 2. 
io.) It was taken at various hours, 
according to the habits of each indi- 
vidual ; by labourers very early in 
the morning ; and, in general, ap- 
pears to have consisted of light and 
digestible food. Suet. Vit. 13. Mart, 
xiv. 223. Compare viii. 67, Apul. 
Met. i. p. 14. 

J U G A ' L I S, sc. Equits (Zvyioc 
v-rnrnc). A draught-horse ; but espe- 
cially one which draws by a yoke 
(jngum) attached to the pole, as con- 



JUGUM. 

mell. i. 6. 6.) The Tuscan pea- 
santry dress their oxen daily with 
the brush and currycomb, as we do 
our horses ; and it may be inferred 
from the above passage of Columella 
that the Roman jugarius did the same. 

JUGA'TIO. Implies the training 
of vines to a rail or trellis, which was 
practised in two ways ; either in 
single lines, like an espalier, then 
termed jugatio directa, or over a 
frame formed with uprights and tie- 
bars at the top, like the annexed ex- 
ample, from a painting in the Na- 




sonian sepulchre, which was then 
1 called jugatio compluviata. Varro, 
R.R. i. 8. 2. 

JUGUM {Zvyov). A yoke for 
draught animals (Cic. N. D. ii. 60. 
Cato, R.R. xi. 2. Vitruv. x. 3. 8.), 
which was attached to the end of a pole 
by a thong (cohum, loi'um), or by a 
pin ; and was frequently formed with 




tradistinguished from fnnalis, an out- 
rigger. (Virg. ALn. vii. 280. Sil. 
Ital. xvi. 400.), as shown by the an- 
nexed example, from an Etruscan 
painting. 

2. Jugalis tela. See Tela. 

JUGAMEN'TUM. See Jugu- 
mentum. 

JUGARIUS. A rustic slave, who 
attended to the stalling, feeding, and 
dressing of the plough oxen. (Colu- 



y 

two arcs to fit the necks of the ani- 
mals on which it rested, in which 
case it is described by the epithet 
curvum (Ov. Fast. iv. 216.), to distin- 
guish it from the plain straight curricle 
bar also used for the same purpose. It 
was likewise furnished -with a pair of 
loops or bands (ZdyXai) at each extre- 
mitv. which were tied round the animal's 



JUGUM. 



359 



chest, to serve the purpose of a collar 
{subjugium). The whole of these 




several details are exemplified by 
the two illustrations introduced ; the 
first of which is from a bas-relief 
found in the island of Magnesia ; 
the second, which shows the pin and 
the thongs round the chest, from a 
painting at Pompeii. 

2. {(latWa, arayopor). A yoke 
for men to carry burdens upon. 
(Varro, R.R. ii. 2. to.) It consisted 
of a pole slightly curved in the centre, 
and furnished with a strap at each end, 
from which the object was suspended, 
(Alciphr. Ep. i. I. 25.), somewhat in 
the same manner as our milk-pails are 
carried; but with this material differ- 
ence, that it was not placed along the 
back, hut across one shoulder, so that 
the objects suspended from it hung be- 
fore and behind the person bearing it, 




who could thus shift his burden from 
one shoulder to the other (Aristoph. 
Ran. 8.) whenever he wished to ease 
the weight. The whole of this is il- 
lustrated by the annexed woodcut ; 
the top figure represents an original 
Egyptian yoke, not quite three feet 
seven inches long, with one of the 
straps belonging to it, of leather 



nearly sixteen inches long, now pre- 
served in the British Museum ; the 
object on the left hand shows the 
bottom of the strap upon a larger 
scale, the two ends of which are fast- 
ened together by a small thong, 
which not only served to connect 
them, but to receive a hook or an 
additional strap, if the nature of the 
burden required it ; and the bottom 
figure in the centre shows the manner 
of using the instrument, from a fictile 
vase, which fancifully represents a 
Satyr carrying objects for a sacrifice 
to Bacchus. 

3. The beam of a balance, or pair 
of scales ; whence used as a name for 



the constellation Libra. (Cic. DPu. 
ii. 47.) The example represents a 
bronze original. 

4. A cross-bar connecting two up- 
rights at the top, in order to form a 
frame upon which vines were trained 
(Varro, R.R. i. 8.) ; as explained 
and illustrated s. Jugatio. 

5. The cross-bar or transverse 
beam which united at the top the 
two sides of an upright 
loom ; to which the 
threads of the w r arp 
were fastened (Ovid. 
Mel. vi. 55.), when 
the loom was of the 
simplest kind, without 
a cloth beam {insubu- 
lum), and the web was 
driven down towards 
the bottom, instead of 
upwards ; such as exhibited by the 
annexed example, representing Circe's 
loom, from the Vatican Virgil. 

6. T/ie yokeun&tv which the Romans 
compelled a vanquished enemy to 
pass without arms, in token of sub- 




360 JUGU MEN T U M. 



LAB ARUM. 



j ligation. (Liv. iii. 28. Flor. i. II. 
13.) It was formed by two spears 
stuck in the ground, with another 
fastened transversely over their tops, 
so as to present the same figure as 
the upright loom in the preceding 
woodcut. Festus s.v. Zonar. vii. 17. 

7. The thwart, or cross-bench in a 
boat upon which the passenger sat. 




(Virg. sEn. vi. 481. of Charon's bark. 
Serv. ad I.) The illustration is from 
a Roman bas-relief. 

JUGUMENTUM. The lintel of 
a doorway. (Cato. R.R. xiv. I. ib. 4. ) 
From the use of the word ^vyw/ua 
applied to the gates of the citadel at 
Sardis by Polybius (vii. 16. 5.), 
Schneider would infer that the jugu- 
mentum was something in the nature 
of a fastening affixed to the outside of 
a door or gate ; but it remains to be 




proved that the Greek word corre- 
sponds with the Latin one, which is 
certainly used by Cato to designate a 
component part of a doorcase, whether 
made of wood or of stone, as in the 
example which represents a doorway 



at Pompeii ; for in the fust passage 
he mentions it as one of the three 
members of a wooden doorcase, limina, 
posies, jugumenta ; and in the second, 
as part of the doorway in a wall, 
cceteros parietes ex latere, jugumenta, 
et antepagmenta. 

JUNO'NES. Fairies or guardian 
spirits of the female sex, one of which 
was believed to be born with every 
female, to attend and watch over her 
through life, and expire with her at 
her decease, precisely as the Genius 
with males. They are represented 
as young girls, with the wings of a 
bat or a moth, and entirely draped, 
as shown by the annexed example, 
from a Pompeian painting ; whereas 




the male spirit was usually repre- 
sented naked or nearly so, and with 
the wings of a bird. Plin. H.N. ii. 
5. Senec. Ep. no. Tibull. iv. 6. 1. 



LAB'ARUM. The imperial stan- 
dard carried before .the Roman em- 
perors from the time of Con- 
stantine. In form it resembled 'KjpH 
the vexillum of the cavalry, l=^p 
consisting of a square sheet of X 
silk attached by a cross bar to (Q) 
the shaft, richly ornamented (Q) 
with gold and embroidery, and 
emblazoned with the figure of 
a cross and a monogram of 
Christ. (Prudent, in Symmach. 
i. 487.), as shown by the annexed 
example, from a medal of Constantine. 



LABELLUM. 



LA BRUM. 



3 6r 



The name is probably formed from 
the Gaulish, lab, to raise ; for Con- 
stantine was educated in Gaul. 

L A BEL'LUM, Diminutive of 
Labrum. Columell. xii. 43. I. Cato. 
R. R. x. 2. and Cic. Leg. ii. 26., where 
it is an ornamental vase over a grave 
{tumulus). 

LA'BRUM. A general name given 
to any vessel which is formed with a 
full round brim, turning over on the 
outside like the human lip, from 
which similitude the name arose. 
The more special uses to which such 
vessels were applied are the following : 

1. A large flat basin containing 
water, which stood, in an isolated 
position, upon the floor at the circular 




end of the thermal chamber (calda- 
rium), in a set of baths, leaving suffi- 
cient space all round it to accommodate 
the different bathers who stood round 
and sprinkled themselves with the 
water it contained, whilst they scraped 
off the perspiration from their bodies, 
engendered by the high temperature 
of the room. (Vitruv. v. 10. 4. Cic. 
Fam. xiv. 20. Marquez. Cas, Rom. 
§ 316. seqq.) Most of these particulars 
are exemplified by the illustration 
from a fictile vase, which shows a 
slave (aquarius) filling the labrum 
with water ; one person scraping 
himself with a strigil (strigilis), and 
another dipping his hands into the 
basin for the purpose of sprink- 
ling the water over his person. The 
engraving on page 363. j\ v. Laco- 
NICUM, exhibits a vase of the same 
kind as it now stands at one end 
of the thermal chamber in the baths, 
of Pompeii. 



2. An ornamental basin of the same 
form, intended to receive the water 
which fell from the jet of an artificial 
fountain (Plin. Ep. v. 6. Ulp. Dig. 
19. 1. 15.), as exhibited by the an- 
nexed example, representing a foun- 




tain now remaining in the Fullonica 
of Pompeii, in which only the water 
has been restored to show the action. 

3. A large flat vessel or pan made 
of stone or earthenware (Col. R. R. 

xii. 15. 3.), which was employed in 
the cella olearia for holding the oil 
after it had been removed from the 
lacus. Col. R. R. xii. 52. 10. Cato. 

xiii. 2. 

4. (\spvij3ov, 7repippavn'ipioi). A 
holy water font, of stone or marble, 
placed at the entrance . ^r~~> _ 
of a heathen temple, 

to contain the lustral 
water (Herod. 1. 51.) WA 
into which the hands mA 
were dipped as a puri- mQ 
fication before sacri- _ mA 
fice. The illustration ■yjjaggg^. 
represents an original "^ 1^ 1 
font of white mar- 
ble which served for this purpose 
at Pompeii ; and the manner of 
placing it in front of a temple is ex- 
hibited by a bas-relief of the Vatican. 
(Mus. Rio- Clem. v. 33.) The com- 
position of the holy water was the 
same as that now adopted in Roman 
Catholic countries, a mixture of salt 
with common water. (Theocr. Id. 
xxiv. 95. Durant. de Rit. i. 21,) 
The word labrum is not met with in 
any Latin writer in the sense here 
mentioned ; but the Greek names 
are well authenticated, as well as the 
object itself ; and the form is pre- 



3 6 2 LABYR IXTH US 



LAC I XI A. 



cisely that of which the name in 
question is characteristic. 

5. The ditch or trench on the out- 
side of an agger, or of a wall of forti- 
fication. Auson. Clar. Urb. v. 9. 

LABYRINTH US (\apupip9oc). A 
labyrinth ; under which term the 
ancients understood more especially a 
large mass of building connected with 
innumerable subterraneous caverns, 
streets, and passages, like the cata- 
combs at Rome for example, out of 
which it was next to impossible for a 
person who had once penetrated into 
them to return back again without a 
guide. Herod, ii. 184. Piin. H.N. xxxvi. 
19. § 1—4. Virg. &n. v. 588. Ov. Met. 
viii. 159. seqq. But likewise what is 
now called a maze, formed by an in- 
tricate design containing many pas- 
sages and windings within a small 
space, circumscribed by hedges (Plin. 
/. c. § 2.), such as still remains in the 
Gardens of Hampton Court, and other 
places ; and as indicated with its 



TP 




name in the annexed illustration, 
which is a reduced facsimile of a sketch 
rudely scratched with a nail upon the 
pilaster of a Pompeian house, pub- 
lished in the Mus. Borb. xiv. Tew. a. 
1852. 

LACERNA. An article of dress, 
which appears to have been borrowed 
from the Gauls. (Cic. Phil. ii. 30.) 
It consisted of a loose mantle, not 
closed all round, like the pcenula, but 
opon in front, and fastened by a buckle 
or brooch {fibula) under the throat. It 




was, moreover, sufficiently ample to be 
worn over the toga (Juv. 
ix. 28.), or any other 
garment ; and had a 
hood [cuculhts. Mart, 
xiv. 132. 139.). which 
could be raised over 
the head when the 
wearer wished to con- 
ceal his features, or 
avoid the sight of any 
unpleasant object. 
(Hor. Sat. ii. 7. 55. 
Patera ii. 70. 2.) It 
came first into use towards the latter 
end of the republic ; but became very 
general under the empire, being used 
by all classes, civil as well as military. 
(Suet. Aug. 40. Claud. 6.) All these 
particulars seem to be distinctly exhi- 
bited in the mantle worn by the an- 
nexed figure, from the column of Trajan; 
and as it presents a characteristic dress, 
which can be ascribed to no other namc 
in the language, it may be confidently 
taken as affording the modelof ^lacerna. 

LACERNA'TUS. Wearing the 
lacerna, as described and represented 
in the preceding article and illustra- 



tion. 



Paterc ii. 80. 



LACER'NULA. Diminutive of 
Lacerna. Arnob. ii. 56. 

LACI'NIA {kpokvc). In its pri- 
mary sense, a flock of wool, not 
twisted into a fringe {fimbria), but in 
its natural form of a knot or tuft, such 
as we often see left upon the surface 
of blankets and other woollen fabrics. 
Hence the term was transferred to 
many other objects both animate 
and inanimate which bore a resem- 
blance to the pointed and globu- 
lar form of that object ; as, a small 
projecting headland (Plin. H.N. v. 
43.) ; a leaf (Id. xv. 30.) ; and the 
two drop-like excrescences, growing 
like warts under 
the jowl of a she- 
goat (Id. viii. 76.) 
which the ancient 
artists likewise 
appended to the 
necks of their fauns and young 




LAC INI A 



L A CONIC U M. 



&3 



satyrs, in order to indicate their li- 
bidinous propensities, when they re- 
presented them without horns, as in 
the annexed example, from a statue 
found at Herculaneum. 

2. From the resemblance above 
mentioned, the name was given to a 
sort of drop, frequently left on to the 
corners of various articles of dress ; 
the chlamys (Plant. Merc. i. 2. 29.), 
pallium. (Pet. Sat. xii. 2.), toga (Suet. 
Cal. 35.), and tunic (Pet. Sat. xii. 
6.), where it served the double pur- 
pose of use and ornament, being 
weighted with 
lead inside, 
so that it kept 
the ends down 
in a graceful 
and steady po- 
sition. It is 
seen upon each 
corner of the 
side slit in the 
tunic worn by 
the annexed fi- 
gure, from an 
equestrian statue of N. Balbus dis- 
covered at Herculaneum ; upon the 
pallium, in the first illustration to that 
word ; upon the chlamys, at pp. 154. 
155. 178. ; upon the toga of the 
Etruscan figure, with the right arm 
extended, s. Toga, though it is lost 
in our engraving from the reduced 
size of the drawing ; and on those 
of the figures in Mus. Barb. vi. 41. 
Mus. Pio-Clem. iii. 19. v. 32. and 
many other statues. Now as the laci- 
nia always depended from the extreme 
corner of the skirt, it will be readily 
understood how it came to signify 
in general language the angular ex- 
tremity of the dress itself ; which 
sometimes hung down near the 
ground, and sometimes was taken up 
and thrown over the shoulder (Ana- 
BOLIUM), so that one person catches 
another by the lacinia, to stop him 
and arrest his attention (Suet. Claud. 
15. Pet. Sat. 100. 5.), like our "but- 
ton holder ; " or uses it as a hand- 
kerchief to wipe his face (Plaut. 




Merc. i. 2. 16.) ; or, to contain any 
thing (Cic. Fam. xvi. 21.) ; while 
Apuleius frequently uses the word 
in a more general sense, for the en- 
tire garment to which lacinicz were 
appended. 

L A C O' N I C U M {irvpiarvpiov). 
The semicircular end of the thermal 
chamber {caldariuni) in a set of baths, 
so termed because it originated with 
the Lacedaemonians. (Mart. vi. 43. 
16.) One end of the caldarium con- 
tained a bath of warm water (alveus), 
and the other the Laconicum, con- 




sisting of a semicircular alcove, heated 
by a furnace and flues (hypocausis) pass- 
ing under its floor and through its 
walls, which were made hollow for 
the purpose. In the centre was placed 
a flat vase (la drum), containing water 
for the bather to' sprinkle over him- 
self as he scraped off the perspiration 
engendered by the high temperature 
at which the place was kept ; and 
immediately over it was a circular 
opening (lumen), which could be closed 
or opened by means of a metal disk 
(clipeus), accordingly as it was re- 
quired to raise or lower the degree of 
heat. (Vitruv. vii. 10. v. 10.) The 
illustration represents the Laconicum 
in the baths at Pompeii, with its 
lab mm in the centre, and the circular 
aperture over it, which was closed by 



364 LACTARIUS. 



LAC US. 



a metal disk, suspended by chains, 
for which the fastenings were dis- 
covered affixed to the walls. The 
three square windows above were 
made air-tight by being closed with 
glass or lapis specularis. The manner 
in which the apparatus of the clipeus 
acted is explained and illusti-ated at 
p. 179. ; and a different explanation, 
which some scholars wish to attach to 
the word Laconicum, will be found at 
p. 180. The relative situation which 
the Laconicum, as here interpreted, 
occupied with respect to the other 
apartments, and its own position in the 
thermal chamber, may be seen on the 
ground-plan, p. 74. letters D. i. 

LACTA'RIUS. A sort of pastry- 
cook, who made sweet things {opus 
lactarium), with milk, meal, fruit, and 
honey. Lamprid. Elag. 27. and 32. 

LACU'NA. A pit sunk under- 
neath the fire of a lime-kiln to receive 
the ashes which dropped from it, 
when the kiln was constructed with 
only one entrance {prcefurnium) to 
its furnace. If there were two en- 
trances, the ashes were removed, 
when necessary, through one of them, 
and in that case no lacuna was re- 
quired. But if there was only a 
single entrance, such a contrivance 
was indispensable, because the ashes 
could not be cleared away without 
extinguishing or diminishing the fire ; 
and it is a requisite in making lime 
that the heat should be kept up at a 
regular and continuous temperature, 
from the time the furnace is kindled 
until the whole mass is sufficiently 
baked. Cato. R. R. 38. 

LACU'NAR {(parviofxa). A coffer 
or panel in a flat ceiling, formed by 
the beams and rafters supporting the 
roof or flooring of an upper story, 
which cross each other at right angles, 
and, when they are left exposed, are 
seen to divide the whole soffit into a 
number of square compartments, like 
a pit or lake {lacuna, lacus), from 
which appearance the name arose. 
(Vitruv. vii. 2. 2. Cic. Tusc. v. 21. 
Hor. Od. ii. 18. 2.) The illustration 



represents a flat ceiling of this de- 
scription from the Vatican Virgil ; 




but, as it was customary to imitate 
wood-work in brick and masonry, 
coffers of a similar description are 
often formed in arched or domed 
ceilings, of which the Pantheon at 
Rome affords an example. 

2. A particular kind of sun-dial 
(Vitruv. ix. 8.), which may be readily 
imagined from the name, although 
no specimen of it is known to exist ; 
as a dial sunk in a slab, like the coffer 
in a ceiling. 

LACUS (Xolmcoc.) In its primary 
sense, a large and profound cavity 
filled with water, which does not flow 
nor, though stagnant, dry up ; corres- 
ponding with our lake. Varro. L. L. 
v. 26. Cic. Agr. hi. 2. 

2. A large open basin or artificial 
tank, containing a head of water 
supplied from the aqueducts, gene- 
rally decorated with marble orna- 
ments and fountains, so as to form an 
embellishment to the city, whilst, at 
the same time, it furnished the poorer 
residents in its neighbourhood, who 
could not afford to have the water laid 
on to their own houses, with a copious 
and accessible supply of this necessary 
element. (Li v. xxxix. 44. Hor. Sat. 
i. 4. 37. Frontin. Ag, 78. P. Victor. 
Urb. Rom. PI in. H. JV. xxxvi. 24. 
§9.) As many as 700 of these lakes 
are enumerated in the city of Rome. 

3. A particular part of the building 
in which wine or oil was made {vina- 
rium, torculai'ium), and into which the 
juice flowed as it was squeezed out 



LAC US. 

by the pressbeam. (Columell. xii. 
1 8. Plin. Ep. ix. 20. 2. Tibull. i. I. 
10. Ov. Fast. v. 888.) Thus far the 
general meaning of the word is suffi- 
ciently authenticated ; but it is not so 
easy to make out exactly what the 
locus was, how it was constructed, or 
whereabout in the building it was 
situated. It is clear, however, (from 
Cato, R. R. 66. Varro, R. R. i. 13. 7. 
and Pallad. i. 18.) that it formed a 
part both of the wine and oil-press- 
room ; in each of which it is reason- 
able to conclude that it served for 
similar purposes, and was constructed 
in a similar manner. In comparing 
the description of Varro and Palla- 
dius (//. cc.) with the remains of the 
olive pressroom discovered at Stabia 
(of which a section and elevation is 
given s. T0RCULAR1UM), the only 
part to which the name of lacus can 
be ascribed, in accordance with their 
words, is a short leaden conduit 
(marked b on the plan), which passes 
from the sloping pavement of the 
large reservoir (h) into an earthen- 
ware jar (c) sunk below the level of 
the floor. Still the name of lake 
seems most inappropriate for such a 
channel ; and, if it were allowable to 
rely upon conjecture alone, it would 
be a more plausible solution of the 
difficulty to suppose that the lacus 
was a pit or receiving vat, constructed 
in the fabric, but under the floor of 
the room, into which the newly 
squeezed oil or wine was let to flow 
from the labrum, through a channel 
constructed for the purpose ; and that 
it was not used in every vineyard or 
olive garden, but only by those pro- 
prietors who bestowed particular care 
and attention upon the manufacture 
of their wine and oil. 

4. Qua in cello, est; a pit sunk 
below the general level of a wine or 
oil cellar [cella vinaria, olearia), in 
which the wine was stored and kept 
in body after it had been removed 
from the pressroom (torcularium)vthe$e 
it was made. Cato, R. R. 67. Xen. 
Anab. iv. 2. 22. Aristoph. Eccl. 154. 
Schol. ad. I. 



LJENA. 365 
5. A pit, or large tray, in which 




lime is chopped up for making mor- 
tar (Vitrv. vii. 2. 2.) ; as shown by the 
annexed example, from a group on the 
Column of Trajan, which represents 
one of the Roman soldiers making- 
mortar for a party of builders. 

6. A trough or vessel of water, into 
which smiths and metal workers plunge 
their instruments to cool them, or the 
heated iron to harden it, when wrought. 




(Ovid. Met. xii. 278.) In the annexed 
example, from a Roman bas-relief, it 
is represented as a large round basin 
standing on the ground at the foot of 
the anvil. 

7. A bin, in a granary. Columell. 
i. 6. 14. 

8. A coffer in a ceiling. (Lucil. ap. 
Serv. ad ALn. i. 726.) Same as 
Lacunar. 

LACUS'CULUS. Diminutive of 
Lacus ; and especially, a bin in a 
granary ; or in a store house for olives, 
in which the fruit was deposited as it 
was picked, and kept until it could 
be put into the press. Columell. xii. 
5o- 5- 

LtE'NA {y\aiva) A term used to 



3 66 



LAGENA. 



LANCE A. 



designate not so much any particular 
description of robe, as a peculiar kind 
of woollen cloth, with a long loose nap 
(Strabo, iv. 4. 3.), which was em- 
ployed for various kinds of garments 
belonging to the outward apparel 
{amictus), such as the pallium, sagum, 
ricinium, lacerna, &c. But the name 
was also specially given to the amictiis 
worn by the Flamines at the sacrifice ; 
which in early times was made of this 
cloth, and put on double, like the 
Greek diplois. Varto, L.L. v. 133. 
Festus, s. v. Serv. ad Virg. ALn. iv. 
262. Cic. Brut. 57. Juv. iii. 283. 
Mart. xiv. 136. 

LAGE'NA (Kayrivos). A large 
eathenvvare vessel, chiefly intended 
for holding wine, but sometimes 
used for other purposes, such as 
keeping fruit &c. (Hor. Sat. 
8. 41. Columell. xii. 45.) 
is described as having 
a full and swelling body, 
like a gourd, a short 
neck, and. a foot to stand 
upon. Apul. Met. ii. p. 
3 1. Columell. x. 383 — 7. 
All these particulars are 
exhibited by the an- 
nexed example, from an original of 
baked clay ; which also closely resem- 
bles the lagena, on an engraved gem, 
which the stork in the fable (Phsedr. i. 
26.) puts before reynard the fox, in 
return for his tantalising her with an 
invitation to eat out of a patina. 

LAMT^E (Xrtju/ai). Vampires ; be- 
lieved to be malignant spirits of the 
female sex, who wandered about at 
night in the guise of old hags, sucking 





the blood, and devouring the flesh of 
human beings, more especially of 
young children. This superstition 
originated in Egypt, whence it was 
adopted intb Greece and Italy. Hor. 
A. P. 340. Apul. Met. i. p. 13. Id. v. 
p. 96. Quaranta, Mus. Borb. xi. 53. 

LAMPAS (Xa/u-nds). A general 
term for any thing which shines or 
gives light ; as a torch (Virg. JEn ix. 
535. Fax) ; a lamp (Juv. iii. 
285. Lucerna) ; but, espe- 
cially, a light which was 
carried by the youth of 
Athens in a race called 
Xa/XTradijSpofALa, at which 
the winner had to outstrip his com- 
petitors without extinguishing his 
light. It is represented by the an- 
nexed example, from a Greek coin, 
and resembles a candlestick with a 
handle under the bottom, and a large 
disk above, to protect the hand from 
the gutterings of the pitchy or resinous 
matter of which the torch consisted. 

LAN'CEA (\6yxij). A lanes ; a 
very long light spear, with a broad 
flat head, serving both as a pike and 
a missile (Virg. JEn. xii. 374.) ; com- 
monly used by the Greek cavalry 
(Polyb. vi. 23. Festus, s. v.), and by 
huntsmen. (Apul. Met. viii. p. 156.) 
It had a leather loop {nodus) attached 
to the shaft (Sil. Ital. i. 318. Isidor. 
Orig. xviii. 7.), intended for the 
porpose of enabling the horsemen to 
mount, (Xen. R. Eqnest. vii. 1.) It is 
singular that we should have no good 
or undoubted representation of this 
weapon. The spear used by Alex- 
ander and those of" the Greek cavalrv in 



the Pompeian mosaic, representing the 
battle of Issus (woodcut, p. 200.), are 
not furnished with the particular ap- 
pendage above mentioned, and then- 
prodigious size is more characteristic 
of the contns than the lancea. In the 
engraved gem of the Stosch cabinet, 
which represents a Greek horseman 



mounting from his spear (Wink. Mon. 
Ant. Ined. 202), the spear is not fitted 
with a loop, but with a projecting 
rest, or small platform, apparently of 
wood, standing out from the lower 
end of the shaft. But in a mutilated 
bas-relief published Vy Stuart {Antiq. 
of Athens, v. 3. p. 47.), containing a 



LANCEARIUS. 



LANISTA. 



,67 



representation of two shields, and what 
appears to be part of the shafts of three 
spears, each of them has a loop affixed 
similar to what is seen in the illus- 
tration here annexed, which represents 
a broken spear lying on the foreground 
of the Pompeian mosaic above men- 
tioned ; and as the head of it is turned 
towards the Persians, it is quite clear 
that the artist intended it for a Greek 
weapon ; the probability of its being 
a lancea is therefore inferred from the 
thong which surrounds its shaft. 

LANCEA'RIUS {Xoyxfyopos). A 
lance)- ; that is, one who is armed with 
the particular kind of spear termed 
lancea, which is described and illus- 
trated under the preceding word. 
Ammian. xxi. 13. 16. 

LAN'CEOLA. Diminutive of 
Lancea. Capitol. Maxim. Jun. 4. 

LANCIC'ULA. Diminutive of 
Lanx. Arnob. ii. 59. 

LAN'CUL A. Diminutive of 
Lanx ; and especially the scale, 
which was appended when necessary 
to one end of a Roman steelyard 
(statera). (Vitruv. x. 3. 4.) The 
illustration shows two steelyards 
found in Pompeii ; one with a scale 




affixed to it, the other without the 
scale, but with a hook for holding 
the objects to be weighed. 




LANIA : RIUM and LANIE'NA 
(kPhuttuXiov). A butcher's shop. 
Varro, R. R. ii. 4. 3. Plant. Epid. ii. 
2. 17. 

LANIF'ICA. A general term for 
a female employed in any of the pro- 
cesses connected with the working 
of wool, inclusive of the spinner, 
weaver, and the various names enu- 
merated in the Classed Index. Vi- 
truv. vi. 7. 2. Ulp. Dig. 33. 7. 12. 

LANIPEN'DIA. The mistress 
of a household, or the superintendant 
in an establishment 
where the business 
of spinning and 
veaving wool was 
conducted. She 
weighed and gave 
out to her slaves or 
workwomen {qna- 
sillarue) a certain 
quantity of wool 
which each one 
was expected to 
consume in her 
work per day. ( Juv. vi. 476. Schol. 
Vet. ad I. Paul. Dig. 24. 1. 38.) The 
illustration shows a female weighing 
the wool in a pair of scales, from a 
bas-relief in the Forum of Nerva at 
Rome, on which various other opera- 
tions belonging to this branch of in- 
dustrial labour are represented. 

LANIPEN'DIUM. A room in 
which wool was weighed out to the 
workwomen for their daily task, as 
described under the preceding word. 
Inscript. ap Romanelli. Topogr. Na- 
politan. ii. p. 273. 

LANIS'TA (/uoiwfioy(OTp6(poc). A 
person whose occupation consisted in 
training gladiators to fight, and teach- 
ing them their art. He was some- 
times the proprietor of a band of 
these men, whom he let out upon 
hire to any person desirous of exhi- 
biting a gladiatorial show ; but more 
commonly merely the trainer and 
fencing master appointed to instruct 
the companies belonging to the state. 
(Cic. Rose. Am. 40. Id. Att. i. 16. 
Juv. vi. 215. Serv. ad Virg. JEn. iv. 



368 LAN1US. 



LANX. 



242.) He is always represented on ' 
works of art in a tunic, and unarmed, j 
but with a wand (virga), which he 
used as a token of authority ; as 





a pair of cocks, with their backers, 
under the usual form of genii, from a 
terra-cotta lamp in the collection at 
Mostyn Hall. 

LAN'IUS (Kpsnvpjoq). One who 
buys cattle to slaughter, and sell the 
meat ; a butcher, or meat salesman 
(Varro, R. R. ii. 5. 11, Phsedr. iii. 
4. ) ; whence transferred in a more 
general sense to an executioner 
(Plaut. Pseud, i. 3. 98.) ; and to one 



shown by the annexed example, 
which represents a lanista giving di- 
rections to a pair of gladiators, from 
a mosaic of the Villa Albani. 

2. Avium Lanista\a\tKTpvovoTp6<pp<;, 
uprvyorp6(po(:. Pollux, vii. 135-6.) One 
who trained and backed game cocks, 
quails, and other pugnacious birds to j 
fight ; a favourite amusement both of | 
the Greeks and Romans. (Columell. 
viii. 2. 5.) The illustration represents 



who buys and sells cattle for slaugh- 
tering at the sacrifice. (Varro, /. c. ) 

LANTERNA. See Laterna. 

LANX. A large circular dish, 
made of silver or other metals, and 
often richly em- 
bossed ; parti- ^jj 
cularly em- 
ployed at great 
entertainments (Cic. Att. vi. I. Pet. 
Sat. xxviii. 8. Id. xxxi. 10.) for 
holding meat or fruit ; and at the 
sacrifice. (Virg. Georg. ii. 194.) 
The example is copied from one of 
twelve figures, representing slaves 
bringing in various dishes at an en- 
tertainment, in a set of ancient fresco 
paintings discovered near the church 
of St John of Lateran at Rome. It 
exhibits a boar brought whole to table 
in one of these dishes, precisely as 
mentioned by Horace (Sat. ii. 4. 41.) 
in a passage which would scarcely 
obtain belief, were it not confirmed 
by some other authority, such as that 
here produced. 

2. Lanx quadrata (nival). A 
square trencher, or platter, originally 
of wood, but subsequently of more 
costly materials ; used as a plate to 
eat from, or as a salver for bringing 
fruit and other eatables to table ; as 
shown by the annexed example, 
from a mutilated Pompeian painting, 




which represents a slave bringing in 
a basket of fruit upon a square tren- 
cher to a party of three persons re- 
clining at table, supposed to be in- 
tended for Scipio, Sophonisba, and 



LAP 1C J DA. 



LARES. 



3 5 9 



Masinissa. Horn. Od. i. 141. xvi, 
49. Aristoph. Plut. 990. Ulp. Dig. 
34. 2. 20. Paul. ?A 6. 1. 6. 

3. (raXaiTor, 7r\rt<rnyE). The dish 
or scale of a balance [libra)", so 
termed from its shallow circular form, 
which resembles that of the dish re- 
presented in the first illustration to 
this article. The annexed example 
exhibits a balance with the scales or 
lances suspended by chains, from 
an original found at Pompeii. Cic. 




Acad. iv. 12. Id. Tusc. v. 17. Pers. 
iv. 10. 

LAPICI'DA. A quarry- man, 
who hews stone out of the quarry. 
Varro, L. L. viii. 62. 

LAPICIDI'NA (XaropHOv). A 
stone quarry. Cic. Div. i. 13. Plaut. 
Capt. v. I. 23. 

LAPIDA'RIUS {XiGovpyb^ \i6oZ6- 
oc, XiOorSfioc). A stone-cutter, lapidary, 




or mason, and, like our own terms, 
including the workers of marble as 
well as stone. (Pet. Sat. 65. 5. Ulp. 
•Dig. 13. 6. 5.) The illustration re- 



presents two masons preparing a 
block of stone or marble, and a co- 
lumn for the building of Carthage, in 
the Vatican Virgil. 

2. When used as an adjective, the 
word is expressive of anything con- 
nected or concerned with stone ; as, 
latoinia lapidaria, a stone pit (Plaut. 
Capt. iii. 5. 65.) ; navis lapidaria, a 
vessel freighted with stone (Pet. Sat. 
117. 12.); lapidaria; liters, capital 
letters such as are cut out of stone 
inscriptions. Id. 58. 7. 

LAQ'UEAR and LAQUEA'RE. 
(Virg. AL11. i. 726. Plin. //. N. xxxiii. 
18.) Same as Lacunar. 

LAQUEA'RIUS. One who makes 
or ornaments with stucco work or 
gilding, the coffers of a ceiling. Cod. 
Theodos. 13. 4. 2. 

LAQUEATO'RES. A class of 
gladiators very similar to the Retiarii, 
excepting that they made use of a 
noose or lasso, instead of a net, to 
hamper their adversaries before at- 
tacking them with their weapon. 
Isidor. Orig. xviii. 56. 

LAQUEA'TUS [<par* wtoc). Ap- 
plied to ceilings which are laid in 
coffers or panels, as explained and 
illustrated s. Lacunar. Hor. Od. ii. 
16. 11. Suet. Nero, 31. 

LAQ'UEUS (j3p6 X oc). A cord 
with a slip-loop to it, forming a noose 
or halter for strangling (Sail. Cat. 58. 
Liv. i. 26.) ; or a snare by which 
wild animals, game, veimin, &c, were 
caught by the neck. Virg. Georg. i. 139. 

LAR'ES. Tutelary spirits ; accord- 
ing to the religious 
belief of the' Ro- %S| pf 

mans, supposed to rdfc^TfV 
be the souls of /fell \§ 
deceased persons, fyv\\\llW 
who exercised a yC^%fffA 
protecting influ- fyy 
ence over the in- m »Jt] 
terior of every pTyX 
man's household, u A V \ 

himself, his family, U ^| 

and property. __^ k= J^. 

They were not 

regarded as divinities, like the Pen- 
2 A 



37© LARARIVM. 



LAS A NUM. 



ates ; but simply as guardian spirits, 
whose altar was the domestic hearth 
{focus) in the atrium, upon which 
each individual made offerings of 
incense to them in his own home. 
(Plaut. Aid. ProL 2. Id. Merc. v. 
I. 5. Quaranta. Mus. Borb. torn, 
xi.) They were likewise believed 
to exert their influence out of 
doors, where they became the over- 
seers of every spot and place in- 
habited by men ; as the streets, roads, 
fields, and buildings, both in town and 
country ; whence they were distin- 
guished by the epithets compitales, 
viales, oirurales -(Suet Aug. 31. Plaut. 
Merc. v. 2. 24. Tibull. i. I. 20.) ; and 
the household ones, familiares (Plaut. 
Aul. I. c). They are constantly re- 
presented in works of art as young 
men crowned with a chaplet of laurel 
leaves, in a short tunic {succinctis 
Laribus, Pers. v. 31.), and holding 
up a drinking-horn {cornu) above 
their heads, as exhibited by the an- 
nexed figure, from a bas-relief in the 
Vatican, under which is the inscription 
Laribus Augustis. The accessory 
of the drinking-horn has induced 
many antiquaries to take these 
figures for cup-bearers (pocilla tores) ; 
but the inscription just mentioned is 
sufficient evidence of their real cha- 
racters ; and they are repeatedly 
seen on the walls of the Pompeian 
houses, in kitchens, bakehouses, and 
over street doors, standing in pairs, one 
on each side of an altar, in the exact 
attitude and drapery here shown. 

LARA'RIUM. A sort of shrine, 
small chapel, or apartment where the 
statues of the Lares, or guardian- 
spirits of a household, as well as other 
sanctified or deified personages, were 
placed and worshipped. Lamprid. 
Alex. Sev. 29. and 31. Such an ar- 
rangement, however, was probably 
peculiar to particular individuals, or 
to great houses and persons of wealth, 
the usual situation for images of 
the Lares being over or beside the 
hearth { focus) in the great hall, or 
atrium of the house. 



LARVA. A ghost or spectre; i.e. 
according to the religious belief of 
the Romans, an evil spirit, supposed 
to be the soul of a departed being, 
which, in consequence of crimes com- 
mitted during life, was deprived of 
repose in death, and left to wander 
about the world without any fixed 
abode, tormenting, frightening, and 
injuring mankind. Its influence, how- 
ever, only extended to evil-doers, 
being innoxious to those who were 
themselves innocent (Plaut. Amph. ii. 
2. 154. Id. Capt. iii. 4. 66. Apul. Deo 
Socrat. p. 689. Augustin. Civ. Dei, 
ix. 11.); nor was it supposed to be 
possessed of any corporeal substance, 
beyond the frame of a skeleton. 
Seneca, Ep. 24. 

2. {/jLop^oXvictlov. A bug-bear or 
hobgoblin, to scare and frighten chil- 
dren ; consisting of a mask for the 
face ; but differing from persona, be. 




cause it is only applied to those which 
possess unsightly features. (Hor. Sat. i. 
5. 64.) The illustration, taken from 
a painting found in an excavation at 
Resina, represents one genius frighten- 
ing another with a larva of this de- 
scription. 

3. An artificial figure of a skeleton, 
which the ancients were fond of intro- 
ducing at entertainments, as a me- 
mento of the uncertainty and shortness 
of life, and consequent inducement to 
make the most of the present hour 
(Pet. Sat. xxxiv. 8. Apul. Apol. p. 
507.) ; a custom which originated 
with the Egyptians (Herod, ii, 78.), 
from whom it passed to the Greeks 
and Romans. Zonar iii. 

LASANUM {\daavov). Properly 



LA TER. 

a Greek word, which the Latins ex- 
press by Sella familuirica, a night- 
chair (Hor. Sat. i. 6. 109. Pet. Sat. 
xli. 9. xlvii. 5. ) ; and as the original 
notion of the Greek word means a 
trivet for kitchen utensils to stand 
upon it is easy to imagine the exact 
nature of a Greek and Roman lasanum. 

LATER (ttXivOoc). A brick ; com- 
posed of argillaceous earth, formed in 
a mould, and dried in tire sun, or 
baked in a kiln. The bricks of the 
Greeks and Romans were much 
larger and also much thinner than 
those made by us ; and each brick 
was stamped with the name of the 
maker, and the year in which it was 
made. Fancy bricks were formed in 
moulds of all shapes and sizes, to 
imitate the same designs as were pro- 
duced by the chisel in structures 
of stone or marble ; but the ordinary 
building bricks were mostly square 
in form, oblong square, or triangular, 
and were made of the comparative 
sizes and shapes exhibited in the 
annexed woodcut, from originals se- 
lected amongst the ruins of Rome. 




The largest, called pentadoron, is 
22 inches square, and 21 lines thick ; 
the next size, called tetradoron, about 
16 inches square, and from 18 to 20 
lines thick ; the smaller one placed 
over it, 7^ inches square, and i\ lines 
thick ; the small oblong square, on 
the extreme right of the woodcut, 
called Lydins, is about 1^ feet long, 
and half a foot broad ; the triangular 
ones are made of different sizes, and 
form either an acute or a right- 
angled triangle ; the manner of using 
them may be seen at the top of p. 241. 

2. Later crudus {wXii'Qoi; <1>/j.>)). A 
brick dried in the sun without being 
baked. Varro, R. R. i. 14. 4. Plin. 
H. N. xxxv. 49. m 

3. Later coctus or cociilis (7r\iv9og 



LATERNA. 37 I 

oirrii). A brick baked in the kiln. 
Varro, R. R. i. 14. 4. 

4. Later aureus, argenteus. An ingot 
of gold or silver, in the shape of a brick. 
Plin. H. N. xxxiii. 17. Polyb. x. 27. 

LATERARIA. A brick-field. 
(Plin. H. N. vii. 57.) The example, 
from a painting at Thebes in Egypt, 
represents an Egyptian brick-field, 
but shows exactly the same process 

an 




as still pursued ; the men at the 
bottom are digging up the brick 
earth, and loading it in baskets, while 
the one at the top lays the bricks 
already made in wooden moulds. 

LATER'CULUS (rrUidior). Di- 
minutive of Later ; a brick of smaller 
dimensions than the pentadoron or 
tetradoron; whence, any thing made 
in a rectangular form, like a small 
brick, as a piece of pastry. Plaut. 
Pan. i. 2. 115. Cato. R. R. 109. 

LATERICTUS (fkivQivog) . Built 
of brick ; opus lateritiurn, brick work. 
Vitruv. ii. 8, 9, and 16. Columell. ix. 
6. 4. See Paries. 

LATER'NA or 
(iTTvoc.fpdvoQ). Alan- 
tern ; the transparent 
parts of which were 
made in early times 
of horn or bladder, 
and subsequently of 
glass. (Plaut. Amph. 
Prol. 149. Mart. xiv. 
61. and 62. Isidor. 
Orig. xx. 10. 7). 
The annexed illustra- 
tion shows the section 
of a circular bronze 
lantern found at Her- 



LANTER'NA 

' »9 




372 



LA TERNARIUS. 



LA TRO. 



culaneum. The low cylinder at the bot- 
tom contains the lamp ; the sides are 
made of transparent horn, without any 
door ; but the cupola-shaped lid is per- 
forated in several places to admit air, < 
and permit the escape of smoke ; and 
it could be raised up by means of the 
upper cross-bar and chain attached to 
it ; which, at the same time, served 
as a handle to cany it by when let 
down, as is represented in our en- 
graving. 

LATERNA'RIUS. The slave 
who carried a lantern before his 
master at night. (Cic. Pis. 9. Val. 
Max. vi. 8. i). In the army the 
soldiers likewise carried lanterns upon 
nocturnal expeditions. Yeg.MilAv.i8- 

LATICLA'VIUS. Is applied 
adjectively to any thing ornamented 
with the broad stripe termed clavus 
latus ; as a napkin (Pet. Sat. 32. 2.) ; 
a tunic (Val Max v. 1.7); and 
absolutely, to designate a person who 
was entitled to wear this ornament 
(Suet. Nero, 26.), as explained and 
illustrated at p. 176. s. Clavus, 8. 

LATRFNA. In early language, 
the name for a bath or washing-place, 
quasi lavatrina (Varro, L L. ix. 68. 
Lucil. ap. Non. s v. p. 212.); but 
subsequently also used to designate a 
water-closet in a private house (Co- 




lumell. x. 85. Suet. Tib. 58. April. 
Met. i. p. 13.), several of which 
are still to be seen at Pompeii ; 



and all, like the annexed example, 
contiguous to the kitchens. The two 
small arches on the right are the 
kitchen stove ; four steps lead down 
to the room, and had a handrail by 
their side to assist the ascent or de- 
scent ; the mark of which remains 
against the wall. The recess on the 
left is the lairina, originally closed by 
a wooden door, which has left the 
marks of its hinges and bolt on the 
edge of the door frame ; and the 
mouth of the pipe through which the 
place was supplied with water is ob- 
servable in the right-hand corner. 

LATRO (Aorpic). In its primary 
sense a servant who worked for hire ; 
whence the word came to signify a 
mercenary soldier, who took foreign 
service for a stipulated pay, like the 
Italian condottieri of the middle ages, 
and the Swiss troops, formerly sub- 
sidized by the French kings. 
But, as these bodies committed 
great excesses in the countries 
which employed them, the name be- 
came subsequently synonymous with 
that of robber, bandit, or assassin. 
Varro, L. L. vii. 52. Festus, s. v. Serv. 
ad Virg. Mn. xii. 7. Plaut. Mil. iv. 
I. 2. Juv. x. 22. Val. Max. v. 9. 4. 

2. A counter used for playing a 
game of skill, approaching to our 
draughts (Indus latrunculoruni); also 
termed hostis and miles ; for the game 
may be said to represent a party 
of freebooters or soldiers engaged in 
the attack and defence of a fortified 
position. (Ov. A. Am. iii. 357. Mart, 
vii. 72. Id. xiv. 20). These were 




distinguished by different colours, 
black on one side and white or red 
on the other, as is clearly expressed 
by £e illustration, representing two 
Egyptians playing at the game ; and they 



LA TR UNCULARIUS. 



LEBES. 



373 



were composed of various materials, 
wood, metal, glass, ivory, &c. The move- 
ments were made upon lines marked 
on the board, the art being to get into 
such a position that one of the adver- 
sary's pieces was brought, between 
two of the player's, when it was 
taken ; or to drive it into a place 
where it was unable to move, when it 
was said to beai/igatus, or incitus, "in 
check;" for ciere is the word which 
answers to our move ; and thence the 
expression ad incitas redactus, literally, 
reduced to extremities, corresponds 
with our phrase check-mated. Senec. 
Ep. 106. ib. 117. Ov. A. Am. iii. 357. 
Plaut. Pan. iv. 2. 86. 

L ATRUNC ULA'RIUS. See 
Tabula. 

LATRUN'CULUS. Diminutive of 
LATRO,and used in all the same senses. 

LATUM'IA. See Lautumia. 

LAU'TIA. Presents which it was 
customary to bestow upon the am- 
bassadors of foreign nations who came 
upon a mission to Rome, consisting of 
provisions and such things as were 
necessary to their maintenance during 
their residence in the city. Liv. xxviii. 
39. xxx. 17. xlv. 20. 

LAUTUM'IA or LATOMTA 
(Xarofiia). Literally a stone-quarry ; 
and, as slaves were confined and made 
to work in the quarries by way of 
punishment (Plaut. Pan, iv. 2. 5. 
Capt. iii. 5. 65.), the same name was 
also given to any prison excavated 
out of the quick rock, and below the 
surface of the soil ; such, for instance, 
as the state prison at Syracuse (Cic. 
Verr. ii. 5. 27. Dorvill. Iter. Sicul. 
torn. i. p. 181.); and the one excavated 
by Servius Tullius under the Capi- 
toline hill at Rome (Varro, L. L. v. 
151. Liv. xxvi. 27. xxxii. 26. xxxvii. 3), 
of which a section is shown at p. 119. 
and a view of the interior at p. 121. 

LAVA'CRUM. (\ovrp6v). A water- 
bath as contradistinguished from a 
vapour bath, and equally applied to 
those which were composed of hot or 
cold water. Spart. Hadr. 1.8 Aul. 
Gel.l i. 2. 1. 

LAVAN'DRIA. Dirty linen or 




things for the wash ; a vulgar word, 
only employed by the common people. 
Laberius ap. Gell. xvi. 7. 2. 

LAVA'TIO. In its primary sense, 
the act of washing or bathing ; whence 
it came to be applied as a general 
term to things used by a person who 
takes a bath (Cic. Fam. ix. 5. Phsedr. 
iv. 4. 22. Ulp. Dig. 34. 2. 26), as well 
as the bath room itself. Vitruv. v. 11. 

LAVATRIN'A. See Latrina. 

LEBES (Af/3//s). A deep vessel or 
basin with a full and swelling outline 
{curvi lebetes, Ov. Met. xii. 243.), 
made of bronze ^ 
or the precious %!^v M% 
metals, and in- 
tended to be held 
under the hands 
or feet to catch 
the purifying 
water, which an 
attendant poured 
over them from 
a jug {guttnrjiium, rpn^oas), before 
and after meals. (Serv. ad Virg. JEn. 
iii. 466. Horn. Od. i. 137, xix. 386.) 
Vessels of this description were fre- 
quently given as prizes at the games 
(Virg. JEn. v. 266.), and, consequently, 
are represented on coins and medals 
with a palm branch, the emblem of 
victory, placed in them, as in the 
annexed example from a medal of 
Gordian. The inscription upon it 
testifies that it was intended to repre- 
sent a prize for the Pythian games, 
while the water jug which stands by 
its side expresses the purpose for 
which it was to be used, and identifies 
it as a genuine representation of the 
lebes. 

2. A copper kettle, or, rather, 
bronze, of the same form and charac- 
ter, but used for 
boiling meat, 
&c, and similar 
to the olla, with 
the exception 
of being small- 
er, and made of 
metal, instead 
of earthenware. 




374 LECTARIUS. LECTIS TERN I A TOR. 



(Serv. adVivg. sFn. iii. 446. Isidor. 
Orig. xx. 8. 4. Horn. II. frequently.) 
The illustration, from a sculptured 
vase of Greek marble, represents a 
lebes of similar form to the last 
example, under which a fire is 
kindled for cooking a pig ; and as 
these kettles had no legs, it is sup- 
ported over the fire upon lai-ge stones. 

LECTA'RIUS (K 7 ivo7voi6s). A 
couch or bedstead maker. Inscript. 
ap. Murat. 956. 7. 

LECTI'CA (Qopfiov, kKIvti). A 




palanquin, introduced into Greece 
and Italy from the East ; in the first 
instance as an article of luxury for 
females, but, afterwards, it came to be 
very generally used for men as well 
as women. (Sulpic. ad Cic. Fam. iv. 
12. Suet, passim. See the Clavis of 
Baumgarten-Crusius, s. v.) The body 
consisted of a wooden case with low 
sides to it, like the bier (capulus, 
feretrum), upon which a corpse was 
carried out (Aul. Gell. x. 3. 2.) ; with 
uprights which supported a wooden 
tester, like the plutens. (Isidor. Orig. 
xx. II. 4. lectica, sive lectus plutens?) 
This roof was covered with leather 
(Mart. xi. 98.), and curtains (vela, 
plague, plagulcs,) were suspended from 
it, which might be closed all round 
(Suec. Tit. 10. Senec. Suas. 1. 6.), or 
drawn back, as in the cut, when it 
was said to be open (aperta, Cic. 
Phil. ii. 24.) ; but, in some cases, it 
was a close conveyance (clausa), 
having the sides fitted with panels 
and windows, which could be opened 
or shut at pleasure. (Juv. iii. 242. 
compare iv. 20. ) The inmate reclined 
upon a soft mattress or feather bed 



(Juv. I. 159.), with a bolster to sup- 
port the back (cervical, Juv. vi. 353.), 
so that he could read, write, or sleep 
within it. According to the wealth 
of the owner, and the size of the 
lectica, it was borne by two, four, six, 
or eight tall slaves (lecticarii), in the 
manner described and illustrated at 
p. 63. We have no authentic repre- 
sentation of this kind of conveyance, 
upon any monument of Greek or 
Roman art ; but the various details 
are sufficiently known from numerous 
incidental passages, in which the dif- 
ferent parts are mentioned or described, 
to warrant the general correctness of 
the figure annexed, which is designed 
by Ginzrot (Wagen und Fahwe?'ke, 
vol. ii. tab. 65.), and will serve to 
convey a distinct notion of the vehicle. 

2. A litter for the conveyance of 
sick and wounded (Liv. ii. 36. xxiv. 
42. Val. Max. ii. 8. 2.), of similar 
character, but more simple, and less 
ostentatiously fitted up. 

LECTICA'RII (<popeia<popoi, tc\ivr]- 
0/) l oo(). Palanquin-bearers. These 
were of two kinds, private or public. 
The first were slaves forming part of 
the domestic establishment of indivi- 
duals, who kept them for the purpose. 
{Cic. Fam. iv. 12. Suet. Cal. 58.) 
The latter were free men of the 
labouring classes, who plied for hire 
at particular stands in the city of 
Rome, called castra lecticarioruvi, 
where a number of these conveyances 
were kept always ready for a fare, as 
sedan-chairs used to be in modern 
Europe. P. Victor, de Reg. Urb. 
Rom. iii. 49. 

LECTI'CULA. Diminutive of 
Lectica. A litter for the transport 
of sick or wounded persons (Cic. Div. 
i. 26. Liv. xxiv. 42. ) ; or a bier on 
which a dead body was carried out. 
Nepos, Att. 22. 

2. Lecticula lucubratoria. (Suet. 
Aug. 78.) Same as Lectulus, which 
is the more usual term. 

LECTISTERNIATOR. The 
slave who spread and arranged the 
couches (lecti) on which the ancients 



LECTISTERNIUM. 



LECTUS. 



375 



reclined at their meals. Plaut. Ps. i. 
2. 30. 

LECTISTER'NIUM. A religious 
ceremony amongst the Romans, com- 
prising a sumptuous banquet offered 
to the gods, at which their statues 
were brought out and placed upon 
tricliniary couches (lecti) at a table 
furnished with every kind of delicacy, 




and provided under the direction of 
the Epulones. (Liv. xxii. 10. v. 3. 
xl. 59- ) The illustration represents 
a lectisternium given to Serapis, Isis, 
Sol, and Luna, fromaterra-cottalamp. 

LEC'TULUS (Kkivihov). Dimin- 
utive of LeCtus, both as regards in- 
feriority of size, furniture, and mate- 
rials. It is thus a small or simple 
couch for sleeping (Cic. Cat. i. 4. 
Id. Fin. ii. 30.), or for dining (Id. 
Mur. 36.) ; and very generally, a 
sort of sofa, forming part of the 
usual furniture in a study (Plin. Ep. 
v. 5. 5. Ov. Trist. i. 11. 39.), and on 
which it was a common practice to 
recline at length while reading, and 
even writing, the tablet being placed 
against one knee, which was raised up 
as a support for the purpose. The 




annexed example, from a Pompeian 
painting, compared with the follow- 
ing illustration and description, will 
explain the difference between the 
lectnlus and lectus. 

LECTUS (XkKTfjov). A bed to 



sleep in (cubicularis, Cic. Div. ii. 
65.). The ancient bedsteads were of 




considerable height, requiring a foot- 
stool {scamnum), or a set of steps 
{gradus) to get into them ; and were 
made like our largest- sized sofas, 
with a head board \anacli1ite1 ium), 
sometimes a corresponding one against 
the feet, and a high back [plutezis) on 
the further side, but entirely open on 
the one at which the occupants en- 
tered (sponda). The frame was 
strung with girths ( fascia, restes, 
institce), which supported a thick 
mattress {torus, culcita), on which 
were placed a bolster and pillow [cu- 
bital, cervical). All these particulars 
are exhibited in the annexed exam- 
ple, from a bas-relief in the British 
Museum. 

2. Lechis genialis (tvvri). The 
marriage bed ; to which the w T ife 




was conducted on the eve of her 
marriage by the pronuba, after she 
had retired from the bridal feast. 
It was a large bed, handsomely deco- 
rated, and raised to a very great 
height from the ground, as is indi- 
cated by the flight of steps at the 
foot of the annexed example, which 
represents the lectus genialis of Dido, 
in the Vatican Virgil. Cic. Cluent. 
5. Compare Lucan. ii. 356. 



376 



LECTUS. 



3. Lectus adversus. A sort of 
symbolical marriage bed ; so termed, 
because it was placed in the atrium 
opposite the entrance of the house ; 
or, perhaps, the lectus genialis itself 
was brought out after the marriage 
and placed in the atrium ; and on 
this the mistress of the household 
used to sit, as it were, in state, while 
she superintended the labours of her 
slaves and attendants who worked 
at their looms in that apartment. 
Laberius % ap. Gell. xvi. 9. I. Prop, 
iv. 2. 85. 

4. Lectus tricliniaris. A couch 
adapted for the reception of three 
persons to recline upon at their meals, 
in the manner explained s. Accubo. 




(Cic. Verr. ii. 2. 74.) It had a railing 
slightly raised at one of its ends, at 
that, viz., which would be on the left 
of the pei?on reclining upon it, and 
upon this he supported his left arm ; 
the other two places were separated 
from each other by pillows. All 
these particulars are to be seen in 
the annexed engraving, from a bas- 
relief which represents the visit of 
Bacchus to Icarus. The vacant place 
against the rail, which is seen on the 
right hand, is the one which the god 
is about to occupy, after the Faun in 
the foreground has taken off his shoes, 
according to the prevalent custom 
before lying down to eat ; and Ica- 
rus rests his left arm upon the pil- 
low which sepai-ates his place from 
that of his guest. When a party 
consisted of more than three per- 
sons, it was the custom to arrange 



three of these couches together round 
a table, so that the .whole formed 
Medius. 



in Jl I 




three sides of a square, leaving the 
bottom of it open for the approach of 
the attendants, in the manner repre- 
sented by the annexed diagram, 
which were then respectively desig- 
nated lectus medius, sumvms, and 
imus ; the middle one being con- 
sidered the most dignified, and imus 
the least so. The places also on 
each couch had their degrees of pre- 
cedence, and particular names to 
distinguish them. On the two side 
couches the places of the highest 
rank were those next the rail (i), 
then the centre ones (ii), and the last 
(Hi) ; but on the middle couch the 
post of honour was at the other ex- 
tremity (iii), which was always left 
for the greatest personage, and was 
thence called cousularis. The host 
occupied the highest place (i) on the 
lowest couch {imus), in order to be 
near to his principal guest. Finally, 
the respective names by which the 
places on each of the couches were 
distinguished are as follows : — 

C 1. Summus in medio. 

Middle couch. < 2. Inferior in medio. 

I 3. Imus in medio. 

r 1. Summus in summo. 

Upper couch. < 2. Medius in summo. 

I 3. Imus in summo. 

c 1. Summus in imo. 

Lower couch. \ 2. Medius in imo. 

I 3. Imus in imo. 

Hence such expressions as superius 
or inferius accumbere axt easily under- 
stood. Sallust. ap. Serv. A?n. i. 
698. Hor. Sat. ii. 8. Plut. Symp. 1. 
Qucest. 3. 

5. Lectus lucubratorius. (Senec. 
Ep. 72.) Same as Lectulus. 



LEGA TUS. 



L EG ION A R II. 



377 



6. Lectus funebris. (Pet. Sat. 
114. 12. Pers. iii. 103.) A bier upon 
which dead bodies were carried out 




to the funeral pile, or to their place 
of sepulture ; as shown by the an- 
nexed example, from a sepulchral bas- 
relief. 

LEGA'TUS {avTiarpctTtiyoQ, vrrap- 
A general officer attached to 
a corps d'armee, and to the governors 
of provinces, who acted both in a 
military and civil capacity ; his duty 
being to advise and assist his supe- 
riors in their plans and operations, as 
well as to act in their stead, both as 
a commander or diplomatic agent, 
whenever occasion required. (Varro, 
L.L. v. 87. Cses. B.C. ii. 17. iii. 
51.) On the triumphal arches and 
columns they are represented in the 
same costume as the other command- 
ers, as shown by the annexed illus- 
tration, from the Column of Trajan, 




in which the first figure on the right 
is the emperor himself (imperator), 
the second a legate {legatus), and the 
third a tribune (tribumis). 

2. (irpsafSevr !](;). A general title 
given to ambassadors, whether Ro- 
man envoys to foreign states, or from 
foreign princes to Rome. Cic. 
Liv. &c. 



LEGIO. A Roman legion ; two 
of which constituted a consular army. 
It consisted of about five or six thou- 
sand (for the complement was not 
always the same) heavy-armed foot 
soldiers {legionarii) drawn from the 
Roman citizens ; augmented by a 
body of auxiliaries at least equal in 
number, and a detachment of cavalry, 
three : hundred strong, which was 
always joined with it ; so that the effec- 
tive force of a legion in the field is 
usually reckoned at ten thousand men 
at the least. Varro. Liv. Tac. Veget. 

LEGION A'RII. Legionary sol- 
diers ; i.e. the body of five or six thou- 
sand heavy-armed 
men, who formed 
the contingent fur- 
nished out of the 
Roman Citizens to 
each legion, the 
rest of its entire 
complement being 
made up by auxili- 
aries and cavalry. 
(Cic. Fam. x. 32. 
Cecs. E.G. 1. 42 ) 
The annexed figure, 
from the column of Trajan, probably 
represents a legionary of the Imperial 
age ; he wears a close helmet, a 
sword suspended by a shoulder belt 
(battens), and hanging on the right 
side, has an oblong square shield 
(scutum), a cuirass formed of flexible 
plates of metal (see Lorica, No. 7.), 
and military shoes (caligce). On the 
arches of Trajan and Septimius Severus, 
and the Columns of Trajan and Anto- 
ninus, numerous bodies of men are 
represented with the same accoutre- 
ments, and engaged in all the various 
duties which the soldiers of a legion 
were expected to perform. 

2. Legionarii equites. Legionarv 
troopers ; i.e. the soldiers comprised 
in a detachment of three hundred 
horse, who were always joined with a 
Roman Legion. (Liv. xxv. 21. xxxv. 
5, Veg. Mil. ii. 2.) Their defensive 
armour appears to have been the same 
as that of the infantry, at least during 




378 LEMBUS. 

the Imperial epoch, as shown by the 




annexed figure, from the Column of 
Antoninus. 

LEM'BUS (XfjBjSoff). A small sea- 
going vessel remarkable for its swift- 
ness, more especially used by the 
pirates of Illyria. The distinguishing 
properties of the class to which it be- 
longed are not ascertained ; further 
than that they were generally small, 
and rowed with oars, sometimes exceed- 
ing sixteen in number (Liv. xxxiv. 35.); 
the largest of them being used in war 
(Liv. xlv. 10.); the smallest as fishing 
boats (Accius ap. Non. s.v. p. 534.) ; 
as stern boats towed behind larger 
vessels, in which the sailors or pas- 
sengers embarked and disembarked 
from the shore (Plaut. Merc, ii. I. 35.); 
and as river boats. Virg. Georg. i. 
201. 

LEM'BULUS, LEMUN'CULUS, 
or LENUN'CULUS. Diminutive of 
Lembus. Prudent. Htpi aretp. v. 455. 
Tac. Ann. xiv. 5. 

LEMNISCATUS. Decorated 
with fillets or ribands (lemnisci), as ex- 
plained and illustrated in the following 
word. Cic. Rose. Am. 35. Serv. ad 
Virg. ^En. v. 269. 

LEMNIS'CUS {XvfivioKoc). A 
sort of fillet or riband distributed as a 
reward of honour ; sometimes by itself 
(Liv. xxxiii. 33. Suet. Nero, 25.), but 
more commonly as a decoration to be 
fastened upon other prizes ; such as 
military crowns (Festus, s.v.), palm 
branches (Auson. Epist. xx. 6.), &c, 
which were considered more honour- 
able when accompanied with a lemnis- 
cus, than when they were simply given 
by themselves. Originally it was made 



L EMU RES. 



out of the thin membrane lying be- 
tween the bark and wood of the lime 




tree (Plin. H. N. xvi. 25. ) ; afterwards 
of wool dyed of different colours (Fes- 
tus, s.v. Serv. ad. Virg. ALn. v. 269.) ; 
and finally of gold and silver tinsel. 
(Plin. H.N. xxi. 4.) The illustration 
represent - a figure of Victory, from a 
painting in the pyramid of C. Cestius, 
holding a simple lemniscus in her left 
hand, and a corona lemniscata in the 
other. 

2. A bandage of lint steeped in 
lotion for applying to wounds. Celsus, 
vii. 28. Veg. Vet. ii. 14. 

LEM'URES. A general name for 
the departed spirits of men. Accord- 
ing to the religious belief of the 
Romans, the soul was converted 
after death into a spirit, either bene- 
ficent or malign, as the actions of the 
individual had been good or bad 
during his lifetime. The good spirit 
then became a protecting angel, and 
was properly termed lar j the evil one 
a spectre, or hobgoblin, properly de- 
signated larva. But although some 
passages plainly imply that the term 
le?)iwes meant departed spirits gene- 
rally, and without reference to any 
particular disposition, yet a number of 
others lead to the conclusion that in 
the popular belief, and in the language 
of the common people, they were con- 
founded with the larvce, and regarded 
as spectres of evil omen and of mali- 
cious propensities. Ov. Fast. v. 483. 
Apul. Deo Socrat. p. 689. Augustin. 



LEPESTA. 



LIB ELL US. 



379 



Civ. D. ix. ii. Pers. v. 1S5. Hor. Ep. 
ii. 2. 109. Varro, ap. Non. s.v.p. 135. 

LEPESTA, LEPIS'TA, or LE- 
PAS'TA {XfTraarrj). A large vessel 
employed in early times as an acrato- 
phoron, to hold the wine before it was 
mixed with water for drinking at table 
(Varro, de Vit. Pop. Rom. ap. Non. s. 
Sinum, p. 547.), and at a lectisternium 
amongst the Sabine population. (Id. 
L.L. v. 123.) It was originally made 
of earthenware, subsequently of bronze 
or the precious metals (Varro, ap. Non. 
s. Lepista, p. 547. Naevius ap. Mar. 
Victorin. p. 2587.) ; and appears to 
have possessed a form resembling 
what is generally conveyed by our 
term pan, the name being taken from 
the shell of the limpet {Xeirac), after 
which we may assume that it was 
modelled. 

LEPORA'RIOI (\a 7 orpo(pdor). 
A warren, or preserve, attached to a 
country villa, and in which not 
hares alone, but other kinds of game, 
or animals ferce naturce, were bred 
and preserved. Varro, R.R. iiL 12. I. 
Id. iii. 3. 1. Gell. ii. 20. 

LIB A RIUS. One who cries and 
sells cakes about the streets, like our 
muffin man. Senec. Ep. 56. 

LIBEL'LA. A level; employed 
by carpenters and masons for testing 
the evenness of flat 
surfaces. It consists / /^\ \ 
of two sides joined at / i \ 
the top by a cross bar, Z_/ ^ \A 
over which a line and plummet de- 
scend, as a pendulum ; so that when 
the instrument is placed upright upon 
any horizontal surface, if both legs do 
not stand upon the same level, the 
line and plummet incline from the 
centre, and show which part is too 
high or too low. (Lucret. iv. 517. Plin. 
H.N. vii. 57. Varro, R.R. i. 6. 6.) 
The example is taken from a sepulchral 
bas-relief, on which it appears amongst 
various other tools used in the carpen- 
ter's trade. 

2. A small silver coin of the 
Roman currency, containing the tenth 
part of a denarius, and, conse- 



quently, equal in value to the as. 
Varro. L.L. v. 174. Cic. Ros. Com. 4. 

LIBEL'LO. A bookseller ; but 
rather in a derogatory sense, as one 
who keeps a book-stall with us. 
Stat. Sylv. iv. 9. 21. 

LIBEL'LULUS. Diminutive of 
Libellus. Mart. Cap. iii. 71. 

LIBEL'LUS (/3ij8Xioj'y. Diminu.- 
| tive of Liber, a little book ; but 
with this distinction, that the libellus, 
i accurately speaking, was a book con- 
sisting of a few leaves of parchment 
or papyrus, written and bound to- 




ther in pages, as our books are (Suet. 
Jul. 56. Cic. Or. i. 21. Hor. Sat. i. 
10. 92.), as shown by the annexed 
example, from a marble bas-relief. 

2. Hence the word came to have a 
more extensive, though characteristic 
signification ; being used to designate 




any paper or document containing 
an advertisement, announcement of 
a play or gladiatorial show, notice of 



3 8o 



LIBER. 



LIBRA. 




sale, a legal notice, petition, or me- 
morial, all of which were usually 
written on a single sheet, as in the 
example, which represents Roman 
citizens presenting memorials and 
petitions to M. Aurelius, from a 
bas-relief in the Capitol at Rome. 
Cic. Att. xvi. 1 6. Mart. viii. 31. 
Plaut. Cure. i. 3. 6. Cic. Phil. ii. 38. 

3. A bookseller's shop. Catull. 
55- 3- 

LIBER (i3ii3\os). Literally, the 
fine bark or rind of the Egyptian 
papyrus, which was used for writing 
upon ; whence it came to signify the 
work or MS. so written, which we 
call a book. Plin. H. A T . xiii. 21.) 
To form this, a 
sufficient number 
of strips were 
glued together 
into one long 
continuous sheet, 
which, for con- 
venience in use, was made up into a 
cylindrical roll (volitmen), so that the 
reader gradually undid it, as he went 
on, in the manner represented by the 
annexed example, from a Pompeian 
painting ; hence the expressions per- 
volutare, volvere, evolvere librum, mean 
to read a work. Cic. Att. v. 12. 
Tusc. i. 11. Brut. 87 

2. When the work extended to 
any length, and was divided into se- 
parate parts, it was usual to roll up 
the MS. containing each one of these 
parts into a separate volume ; which 
was then called a book, in the same 
sense which we attach to the word 
when we say the twelve books of 
Virgil's ALneid. Cic. Div. ii. 1. 

LIBITTNA. The goddess in 
whose temple all the apparatus and 
paraphernalia required for furnishing 
out a funeral were kept ; whence the 
word is used in a more general sense 
for the funeral apparatus (Liv. xl. 
19. xli. 21.); for the bier (leetus f li- 
ned r is) upon which a corpse was car- 
ried (Mart. x. 97. Plin. H. N. xxxvii. 
11. § 2.); and for the trade of an 
undertaker (Val. Max. v. 2. 10.) 



LIBTTINA'RIUS (kt^wt^). A 

furnishing undertaker ; who let out 
or sold the furniture and apparatus 
required for conducting a funeral. 
Senec. Ben. vi. 38. Ulp. Big. 14. 
3- 5- § 8. 

LIBRA (araO/Jioc, raXai'tov.) A 
balance, or pair of scales ; of which 
a great many specimens, constructed 
in different ways, are preserved in 
the various cabinets of antiqui- 
ties. The simplest kind consists of 
a mere beam (Jugum), with a pair 
of scales (lances) at each end, and 
a ring or short chain placed in 
the centre of the beam, as a handle 
[ansa) to poise it by. In some cases 



the beam is furnished with a tongue 
or index (exatnen) working in an 
eye (agina), to mark the variation in 
weight, as is usual with the modern 
scales. And sometimes as in the 
annexed example, from a Pompeian 
original, the beam is divided into 
fractional parts, in the same manner 
as a steel-yard (truiina), with a weight 
(ceqiiipondium) attached to it, by 
which means the difference in weight 
between two objects is decided at 
once, without the necessity of having 
recourse to a number of fractional 
weights for the purpose. 

2. Sine bilance libra. (Mart. Ca- 
pell. xi. 180. p. 42.) A balance with 
only one scale, but having a fixed 
weight instead of a scale attached to 
the opposite end of the beam, as in 
the annexed example, from an ori- 
ginal in the Granducal Cabinet at 



LIB R ARIA. 



L I BR I PENS. 



38l 



Florence. This was not used for 
measuring unequal quantities, but to 
test the just weight of a given quan- 




tity ; and is supposed to have been 
employed at the mint, for estimating 
the proper weight of coinage, and by 
jewellers, money-dealers, &c. 

3. A carpenter's or stone-mason's 
level, for which the diminutive, Li- 
bella, is more usual. 

4. {Aquaria). A geometrical in- 
strument, employed in taking the 
levels of water. Vitruv. viii. 5. I. 

5. A counterpoise. (Plin. //. N. 
xvi. 65.) ^Fquipondium. 

6. A measure made of horn and 
divided by lines on the inside into 
twelve fractional parts ; employed for 
measuring oil. Galen. Compos. Med. 
per gen. i. 17. vi. 8. Compare Hor. 
Sat. ii. 2. 61. 

LIBRA'RIA (from Liber) ; a 
bookseller's shop. Gell. v. 4. xiii. 30. 

2. (From Libra) ; same as Lani- 
pendia. Juv. vi. 476. 

LIBRA'RIUM. A box or case in 
which books and writings were kept. 
Cic. Mil. 12. Ammian. xxix. 2. 

LIBRA'RII. A class of educated 
slaves who were employed by their 
masters in different occupations re- 
quiring a certain amount of literary 
acquirements. and skill ; such as tran- 
scribing and binding books, making 
extracts, writing letters, acting as 
librarians. Hence they were distin- 
guished by an epithet denoting the 
particular service which each had 
to perform ; as scriptor librarius, the 
transcriber or copyist ; a studiis, who 



made extracts, or performed the 
duties of secretary and coadjutor in 
the studies or business of his em- 
ployer ; ab epistolis, who conducted 
his master's correspondence in the. 
character of an amanuensis. Hor. 
A. P. 354. Cic. A or. ii. 5. Att. iv. 4. 
Suet. Claud, 28. Cic. Lam. xvi. 21. 
Orelli, Lnscript. 2437. 

2. Same as Bibliopola. Sen. Ben. 
vii. 6. 

LIBRATO'RES. Professional 
persons, employed by the officers who 
had the superintendence of the public 
aqueducts, to make all the necessary 
surveys, ascertain the levels of diffe- 
rent sources of water, and to regulate 
the size of the pipes which conveyed 
a supply of water from the reservoir 
{castellum) to the various establish- 
ments and houses of the city, in order 
that none might obtain more than 
their legal- allowance ; which was ef- 
fected by calculating the quantity that 
would pass through a pipe of certain 
diameter in a given time. Plin. Ep. 
x. 70. 3. Frontin. Aq. 105. 

2. In the army, soldiers who levelled 
and worked the machines from which 
missiles were discharged ; like the 
engineers of modern warfare. Tac. 
Ann. ii. 20. xiii. 39. 

LIBRPLE. The beam of a balance 
{libra) from which the scales depend 
(Festus s.v.) ; whence, also, the ba- 
lance itself (Aul. Gell. xx. 1.9.). See 
the illustration s. Libra, i. 

LPBRIPENS. Before the intro- 
duction of stamped money, all sums 
were reckoned by the pound weight, 
and not by the number of pieces ; 
whence the person who weighed out 
the amount to be given for any pur- 
chase was termed libripens, the weigh- 
man. (XII. Tab. ap. Gell. xv. 13. 4.) 
But the name was retained in after 
times, although the custom from 
which it arose had long fallen into 
disuse, to designate the person who 
reckoned up and distributed their pay 
to the soldiery, whom we might term 
the quarter-master of a regiment. Plin. 
H.N. xxxiii. 13. 



3 82 



LI BUM. 



LICIUM. 



LI'BUM. A sort of cake or biscuit 
composed of flour, milk, eggs, and oil, 
especially made as an offering to the 
gods (Cato, R.R. 75. Varro, R. R. 
ii. 81.) ; and also as a birthday pre- 
sent. Mart. x. 24. 

LIBUR'NA or LIBUR'NICA, sc. 
Navis (Xifivpvic). A vessel of war, con- 
structed after a model invented by 
the Illyrian pirates, and introduced 
into the Roman navy after the battle of 
Actium. It was built sharp fore and 
aft, was worked Math one or more 
banks of oars, according to the size, 
as well as sails, had the mast amid- 
ship, and the levantine sail instead of 
the common square one. (Veg. Mil. 
v. 7. Lucan. iii. 691. Sil. Ital. xiii. 
240. Scheffer, Mil. Nav. pp. 92. 191.) 
The smaller ones were used as tenders, 
but the larger were brought into line 
for action. Though the real build of 
these vessels is not positively authen- 
ticated, the annexed figure, which 
appears upon medals, both of Claudius 
and Domitian, has sufficient affinity 




to the above description, collected 
from incidental passages, to be offered 
as a probable representation of one of 
the smaller class. 

LICIAMEN'TUM. A set of 
leashes {licia) in weaving ; that is, the 
number attached to one of the rods 
or "heddles." (Not. Tires, p. 160.) 
See the next illustration and LiClUM. 

LICIATO'RIUM. The rod upon 
which a set of leashes {licia) were 



fastened in weaving (Vulg. 1. Kings, 
17. 7.), similar in use and purpose to 
the heddles of our weavers. The illus- 
tration shows two leash rods upon 




the primitive Icelandic loom re- 
ferred to by Scheffer, Index R. R. 
Script, s. Tela. 

LI'CIUM. [fiiroQ). A leash em- 
ployed in weaving, for the purpose of 
decussating the threads of the warp, 
so as to make an opening, technically 
called a "shed," for the shuttle to 
pass through. (Plin. H. N. viii. 74. 
xxviii. 12 ) It consisted of a string 
with a loop at one end, through which 
a thread of the warp was passed, each 
thread through a separate leash ; and 
the whole number were then fastened 
in alternate order upon two rods (licia- 
toria), as shown by the preceding 
woodcut ; the first, third, and fifth to 
one, the second, fourth, and sixth to 
another ; so that when the two rods 
were pulled apart, they drew every 
alternate thread of the warp across 
every other one in opposite directions, 
making at the same time an open- 
ing or shed between them, through 
which the cross-thread of the woof 
was conveyed. The process of putting 
on the leashes in the manner described 
is termed " entering" by our wea- 
vers, and by the Romans was de- 
scribed by the expressions, licia teles 
addere, or adnectere. Virg. Georg. i. 
285. Tibull. i. 6. 79. 

2. Hence any thread, string, or 
band : as the thread of a web ; a 
string for tying or suspending any- 



L/C TOR. 



LIGULA. 383 



tiling ; a riband for the hair, an en- 
chanted band, &c. Auson. Ep. 38. 
Ov. Fast. iii. 267, Prudent, in Sym. 
ii. 1 104. Pet. Sat. 131.4- 

LIC'TOR {pai3So?xo<,). A lictor ; 
a public officer attached to the service 
of certain Roman magistrates, whom 
he preceded whenever they went 
abroad ; viz. twenty-four for a dic- 
tator, twelve for a consul, decemvir, 
or tribune with military power ; six 
for a pnetor, and one for a Vestal 
virgin. He carried the fasces ele- 
vated on his left shoulder, and a rod 
{virga) in the right hand, with which 
he removed any persons obstructing 
the way, and knocked at 
the doors of those whom 
the magistrate visited. 
In the city he wore the 
toga, and carried the 
fasces without the axe 
(securis), as exhibited 
by the annexed figure 
from a bas-relief of the 
Vatican ; but out of 
Rome he wore the mili- 
tary cloak (sagum or 
paludamentum\, and had 
the axe attached to his 
fasces ; as shown by the 
figure, p. 278. ; which 
the rod in the right hand. Morell. 
Dissert. dJ Littori. Milan, 1828. 

LIGO (/loiKtWa). A sort of hoe, 
with a long handle (Ov. Pont. i. 8. 
59.), and blade curved rather inwards 
(incurvus, Stat. Theb. iii. 589.), the 
edge of which was notched into teeth 
(fracti dente ligonis, Columell. x. 88.). 




The annexed figure is from an en- 
graved gem, on which it appears in 
the hands of Saturn, represented in 
the character of an agricultural serf ; 
and, strictly speaking, when in this 
form it wa"s designated by a name of its 
own (bidens, c<Kf\\a), the tivo- pronged 
hoe, which would lead us to infer 



that the regular ligo was furnished 
with more than two prongs. But it 
will serve to convey a general notion 
of the character of the instrument, 
and to illustrate the epithets applied 
to it in the passages cited above. 

LIG'ULA or LIN'GULA. Di- 
minutive of Lingua ; a little tongue, 
applied in the following characteristic 
senses : — 

I. [yXutaaa, yXwrru). The month- 
piece of a pipe (tibia), which was 
inserted between the teeth, like that 



of a modern clarionet or flageolet. 
(Plin. H. N. xxvi. 56. Festus s. Lin- 
gular The example is from a bas- 
relief. 

2. A kind of small spoon, possessing 
a certain resemblance to the human 
tongue, employed for eating sweet- 
meats (Cato, R. R. 84.), taking oint 



ment out of a bottle, skimming certain 
dishes (Plin. H.N. xxi. 49.), and 
various other purposes, for which its 
peculiar form adapted it. (Mart. viii. 
33. Columell. ix. 15. 3 . ) The example 
is from an original bronze, formerly 
belonging to the Italian antiquary 
Bellori. 

3. A small tongue or leaf-shaped 
sword, like the Greek %i<poc, which 
the Roman soldiers also used in early 
times, before they had adopted the 

long straight Celtiberian glaive, gla- 
dius. (Aul. Gell. x. 25. 2. Varro, 
L.L. vii. 107.) The example is copied 
from the device on a votive bronze 
shield, found at Pompeii, formerly 
belonging to a gladiator of the class 
termed Retiarii, as the inscription 
testifies. The trident ( fusctna) is 
likewise exhibited upon it : from 
which we may collect that the Retia- 
rius made use of the ligula as well as 
the net and trident. 



3§4 



LIMA. 



LIMB US, 




4. The lapelle or lappet on each 
side of a shoe (calceus), through which 
the strings {corrigice) that tied it on 
the foot were passed ; 

whence the expression 
demittere ligulas means, to 
leave the shoes untied. 
(Festus, s. v. Juv. v. 20. 
Schol. Vet. ad I.) The example is 
from a Pompeian painting. 

5. The wedge- like end of a lever 
(vectis) which is inserted under the 
weight to be raised (Vitruv. x. 3.), or 
into any cavity or fixture for the pur- 
pose of producing pressure, as with 
the press beam ( prelum) of an oil or 
wine press. Cato, R.R. 18. and 
illustration s. Torcular, i. 

6. A tenon in carpentry ; i.e., a 
projecting tongue cut out upon the 
edge of a board or end of a beam, to 
fit into a mortise or cavity of corre- 
sponding form in another timber. 
Columell. viii. 1 1. 

LIMA (pivri). A file or rasp, of 
the same description, and for similar 
uses as the like instrument in our own 
days. Phaedr. iv. 7. Plin. Plaut. &c. 

LIMA'RIUS. See Piscina. 

LIMB AT US. Adorned with an 
ornamental border or limbus, as ex- 
plained and illustrated under that 
word. Gallien. ap. Trebell, Claud. 1 7. 

LIMBUL ARIUS. One who made 
borders to be sewed on to wearing 
apparel, or on to bands for the hair 
or waist. Plaut. Aid. iii. 5. 45. In- 
script. ap. Don. cl. 8. n. 27. Limbus 
i. 2. 

LIMBUS {Trapvfprj). An ornamen- 
tal border woven into the fabric of a 
piece of cloth, in order to make a 
finish round the edges of wearing 
apparel. Ov. Met. vi. 127. Virg. 
JEn. iv. 137. Servius ad I. Stat. 



Achill. 



It was made 



great variety of patterns, and was worn 
amongst the Greeks by both sexes ; 
by males on the skirts of their tunics 
(woodcut s. v. Hieronika) and 
edges of the chlamys (woodcut s. v. 
p. 155.), and by females on most 
articles of their attire ; as shown by an 



infinity of designs on the Greek fictile 
vases, from one of which the annexed 
example is taken. But amongst the 
Romans, if we may judge from the 
rareness of its occurrence upon the 




works of art executed by or for that 
people, even in the Pompeian paint- 
ings, it would seem to have been but 
seldom adopted, and its use mostly 
confined to females. 

2. Hence an ornamental band for 
the hair, worked 
with a pattern in 
embroidery (Stat. 
Achill. ii. 176. 
Arnob. ii. 72.), as 
shown by the 
woodcut at p. 284. 
s. Fibula 4; or 
sash for the waist 
(Stat. Theb. vi. 
367.), as exhibited by the annexed 
figure from a statue in the Royal 
Museum at Naples. 

3. The band or zodiacal circle 
which contains the figures of the 





twelve signs, as if on an embroidered 
sash ; like the example annexed, from 



LI MR ^7. 



L1NEA. 



3*5 



a painting at Pompeii, 
ii. 3. 

4. The main rope of several twists 
upon which a hunting or fishing net 
is made, and which, as being much 
thicker and stronger than the twine 



Varro, R.R. I I. (vp/uia). A fishing-line (Mart. 

iii. 58. 28.) made of strong hair {seta, 
Avian. Fab. xx. 1.) or flax twisted 
into thread [linum, Ov. Met. xiii. 




of the meshes, served as a sort of 
border or edging to the net, as ex- 
emplified by the annexed figure from 
a Roman mosaic. Grat. Cyneg. 25. 

LIMEN (/3/A6c). The threshold, 
including the sill and the lintel of a 
door ; which, however, are sometimes 
distinguished by a special epithet : as 
lime 11 inferior, the sill ; limen superior, 
the lintel. Plaut. Merc. v. I. I. Id. 
Cas. iv. 4. 1. Vitruv. vi. 9 and II. 
See the illustrations s. JANUA, 

2. Limen or limina equorum. The 
threshold or doorway of the stalls in 
the Circus, from which the horses and 
chariots came out when they were 
about to start for a race. Virg. ALn. 
v. 316. Sil. Ital. xvi. 316. See the 
illustration s. Carcer, 2. 

LI'MUS. A petticoat, reach- 
ing from the waist to 
the feet, and orna- 
mented with a band or 
stripe of purple colour, 
all round the bottom of 
the skirt. It was the 
proper costume of the 
Popa, who officiated 
at the sacrifice, and is 
distinctly shown by the 
annexed example, from 
the Vatican Virgil. 
Virg. JEn. xii. 120. 
Servius ad I. Compare 
Tiro. ap. Gell. xii. 3. 

LI'NEA. In general a thread, 
line, or string ; whence the following 
more special senses : — 





an 



923). The example represents 
angler in a Pompeian painting. 

2. A line which sportsmen extended 
along a given tract of country, with a 
number of different coloured feathers 
tied on it, for the purpose of frighten- 
ing the game, and to deter them from 
breaking out in the direction where it 
was placed. Grat. Cyneg. 27. and 
S3. Nemes. 303. Same as Formido. 

3. (oTaO/i?]). A carpenter's or 
stone mason's line, which is a string 
covered with chalk, and used for 
striking a straight mark upon a boaid 
or slab by which to diiect the course 
of the saw ; or for measuring gene- 
rally. Pallad. iii. 9. 10. Vitiuv. vii. 
3. 5. Cic. Q. Fr. iii. 1. I. 

4. Alba linea (ypafj[*ii). A rope 
whitened with chalk, and drawn across 
the opening of a race-course {circus) for 
the purpose of making the start fair. 
(Cassiodor. Var. Ep. iii. 51.) Its situ- 
ation is shown by the dotted line, 
marked E in the engraving on the next 
page, which represents the ground- 
plan of a small circus, still remaining 
in considerable preservation, at a short 
distance from Rome, on the Appian 
Way ; end in which it is inserted on 
the authority of a mosaic picture repre- 

2 B 



LINE A. LINGUA. 



seating a circus discovered at Lyons, in 
the commencement of the present cen- 
tury, where it is coloured white, and oc- 
cupies the same position as here as- 
signed to it. It was kept tight until all 
the cars, having left their stalls (carceres, 
AA. on plan), had arrived fairly 
abreast of one another at the line in- 
dicated, and until the signal for a 
start was given, when it was slacked 
away from one side, and the race 
commenced. Had it not been for a 
conti-ivance of this kind, the eagerness 
of the horses would have led to a con- 
stant succession of false starts, as fre- 



quently happens at the horse races 
during the Carnival at Rome, where a 
similar expedient is resorted to ; and 
an over-eager horse, who breaks away 
from his trainers, rushes against the 
rope, which either brings him up or 
throws him down ; an accident 
actually represented as occurring to a 
pair of horses in the Lyons mosaic 
above referred to. Moreover, as this 
rope was whitened with chalk, it is 
often referred to under the term 
Calx or Creta ; and as the cha- 
riots ran round the course, return- 
ing at last to the end from which 




they started, all three words are 1 
figuratively applied to designate the 
end of anything ; particularly of life, 
the chances and accidents of which 
both poets and artists were fond of 
assimilating to the casualties of a 
race. Hor. E'p. i. 16. 79. Cic. Sen. 
23. Tusc. i. 8. 

5. A string of pearls, which, under 
the extravagant habits of the empire, 
were sometimes cast among the people 
for a scramble at the public games of 
the circus, &c. Mart. viii. 78. Com- 
pare Suet. Nero, II. Tertull. Hab. 
Mil. 9. Ulp. Dig. 9. 2. 27. Com- 
pare Miss 1 li a. 

6. A line described upon the face 
of a sun-dial (solarium), and marked 
with the various hours, 
so as to indicate the time 
of day by the shadow 
which the index (gno- 
mon) cast upon it. The 
illustration represents an 
ancient sun-dial engraved 
upon a silver cup found 
at Porto d'Anzio. 

7. A line or incision cut across 




the seats (gradus, sedilia) in a theatre, 
amphitheatre, or circus, for the pur- 
pose of defining the exact space 
which each person was entitled to 
occupy, and prevent inconvenient 
crowdino- or selfish engrossment. 




(Ov. Amor. iii. 2. 19. Id. A. Am. 
i. 141. Quint, xi. 3. 133.) These 
lines are still discernible in the am- 
phitheatres at Pompeii and Pola, 
from which last the annexed illus- 
tration is taken ; it represents one of 
the large blocks of marble which 
formed the cavea divided by lines 
into stalls for six occupants, some of 
whose initials are carved upon the 
seat. 

LINGUA. The mouth-piece of a 
pipe. (Plin. H. N. x. 43.) Same as 
Ligula, 1. 



LINGULA. 

2. The short end of a lever. (Vi- 
truv. 8. 2.) Same as LlGULA, 5. 

LINGULA. A vulgar and in- 
correct writing for LlGULA, which 
see. Mart. xiv. 120. 

LI'NIGER. In a general sense, 
wearing linen garments; but the word 
is specially used to designate the 
Egyptian goddess Isis (dea linigera, 
Ovid. Met, i. 747.) ; and a certain 
class of priests ministering in her 
temples, who went bald-headed and 
naked as far as the waist, below 
which they were covered with a long 
linen petticoat ; whence they are 
styled linigeri calvi. (Mart. xii. 29. 
18. Juv. Sat. vi. 533.) Both these 
characteristics are exemplified by 
the annexed figure, representing an 




Egyptian priest of the kind described, | 
from a painting in the temple of Isis 
at Pompeii. 

LINIPHIA'RIUS, LINIPH'IO, 
and LPNYPHUS (\«/otyoe). A 
linen weaver. Hadrian, in Ep. ap. 
Vopisc. Saturn. 8. Cod. Theodos. x. 
20. "8. 

LINOSTE'MA. A fabric made 
of thread and wool mixed , the warp 
{stamen) of thread, the web {subtemen) 
of wool. Isidor. Orig. xix. 22. 1 7. 

LINTEA'MEN. (Apul. Met xi. 
p. 245. Lamprid. Elag. 26.) Same 
as Linteum. 

LINTEA'RIUS {\ivo K npvZ). A 
linen draper , or hawker of linen 
goods for sale. Ulp. Dig. 14. 4. 5. 
Cod. Theodos. 10. 20. 16. 



L INTER. 387 

LINTEA'TUS. Clothed \n linen, 
as contradistinct from wool or cotton. 
Liv. x. 38. Festus, s. Legio. Senec. 
V. B. 27. 

LIN'TEO. A linen weaver. Plaut. 
Aul. iii. 5. 38. Serv. ad. Virg. Mn. 
vii. 14. 

LINTE'OLUM (odovior). Any 
small linen cloth ; thence, especially, 
a napkin, or a handkerchief. (Plaut. 
Ep. ii. 2. 48. Plin. H. N, ix. 45. 
Apul. Apol. pp. 490. 494.) See Su- 

DARIOLUM. 

LINTER. A boat used chiefly 
in marshy places, or waters abound- 
ing in shallows (Tibull. ii. 5. 34.) ; 
for the transport of produce upon 
rivers, or of cattle and soldiers across 
them (Liv. xxi. 27.) ; for supporting 
a bridge of boats (Cses. B. G. i. 
12.) ; and other similar purposes. 
It was rowed with oars (Coes. 




B. G. vii. 60.), not punted, and, as 
I it had but a slight draught, without 
being fiat-bottomed, could not have 
been very steady in the water ; 
whence Cicero {Brut. 60. ) quizzes 
an orator who swayed his body to 
and fro while speaking, by saying 
that he made use of a linter for his 
pulpit. The example represents a 
Roman soldier transporting wine 
casks across a river in one of these 
boats, from the Column of Trajan. 

2. A tray or trough employed at 
the vintage for carrying grapes from 
the vineyard to the vat in which the 
juice was trodden out by the feet , 
doubtless so named from its resem- 
blance in form to the boat just de- 
scribed. Cato, R. R. xi. 5. Tibull 
i. 5. 23. Virg. Georg. i. 262. 



3 83 



LINTEUM. 



UTICMM. 



LINTEUM (60<5i///). Generally, 
any cloth made of linen ; but Pliny 
(//. N. xii. 22.) applies the same term 
to cotton fabrics. Specially, a towel, 
napkin, or handkerchief (Plaut. Most. 
i. 3. no. Catull. xii. 3. n. 14.), 
same as Sudarium ; a curtain to 
close the sides of a lectica, or palan- 
quin (Mart. ii. 57.), same as Pla- 
GULA ; the sail of a ship, which was 
made of strips of cloth sewed together 
(Virg. ALn. iii. 686. Liv. xxviii. 
45.), same as Velum. 

LINTRA'RIUS. One who rows 
a Enter* Ulp. Dig. 4. 9. 1. 

LINTRIC'ULUS. (Cic. Att. x. 
10.) Diminutive of LlNTER. 

LI'NUM {\ivov). Flax; thence 
anything made with flax ; as, a 
sewing thread (Celsus, vii. 14.) ; a 
fishing line (Ovid. Met. xiii. 923. 
Linea I.) ; a string of pearls (Ter- 
tull. Linea, 5.) ; a string bound 
round the tablets (tabellte) upon 
which letters or any other document 
were written, and then tied in a knot 
over which the seal was affixed (Cic. 
Cat. iii. 5. Plaut. Bacch. iv. 3. 79 — 
in.) ; a net, the meshes of which 
were made of strinq;, Ov. Virc:. 
|uv. 

LITERATUS, Marked or let- 
tered ; especially applied to any ob- 
ject of use or ornament which has the 
maker's or owner's name inscribed 
upon it (Plaut. Rud. iv. 4. in. 114. 




Ib. ii. 5. 21.), as in the annexed and 
many other articles, found at Pom- 
peii. The letters engraved upon the 
handle are L. Ansidiodo. 

2. Branded ; meaning a slave 
marked on the forehead for thieving 
or running away (Plaut. Cas. ii. 6. 
49.) ; also termed mscriptus-, notatus, 
stigmosns. 

3. Lettered ; meaning versed in 
letters ; applied to an educated slave, 



whose literary knowledge and ac- 
quirements were turned to account 
by his master in a variety of ways, 
as a librarian, reader, amanuensis, 
secretary, &c. Orbilius ap. Suet. 
Gramm* 4. 

4. {ypafi/xaTiKoc). Agrammarian; 

1. e., a scholar who employs himself 
in writing notes and commentaries 
upon the works of other authors. 
Nepos. ap. Suet. Gramm. 4. 

LITHOSTROTUM (\i96<tt P uj- 
top.) Literally, paved with stones ; 
whence the pavement of a Roman 
road, which was laid with polygonal 
blocks of volcanic formation {silex) ; 
or of any flat open square, like an 
area or a forum, which were paved 
with broad square flags ; or the floor 
of a building, like that of the Pan- 
theon at Rome, which is formed with 
slabs of porphyry and jaune an- 
tique ; were all lithostroia in a generic 
sense. But the word is mostly ap- 
plied, in the passages which remain, 
>o the various kinds of ornamental 
pavements which go by the common 
name of mosaic with us ; more espe- 
cially to those which were composed 
of small pieces of stone or marbles of 
natural colours, as contradistinguished 
from those which were made of glass 
or composition, artificially stained to 
imitate different tints. Varro, R. R. 
iii. I. 10. Plin. H. N. xxxvi. 60. Ca- 
pitol. Gord. 32. and the various names 
enumerated in the Classed Index. 

LITTCEN. One who plays the 
trumpet called lituus. (Varro, L. L. 
v. 91. Cato, ap. Gell. 
xx. 2. Ammian. xiv. 

2. ) The liticines 
formed a corporation 
{collegium) at Rome 
and the instrument 
they played, as well 
as the costume which 
they wore, is exhibi- 
ted by the annexed 
figure, from a sepul- 
chral marble, having 
the following inscrip- 
tion underneath — M. 




LITUUS. 

Julius Victor ex collegio liti- 
CINUM. The piece of drapery over 
the front of the chest is singular ; but 
a Roman soldier, on a bas-relief 
published by Du Choul (Castramet. 
des Romains), wears a cape of the 
same description. 

LIT'UUS. A brass trumpet, with, 
a long straight stock, like the tuba, 
but furnished at its furthest extre- 
mity with a curved joint, like the 
buccina or cornu. (Festus, s. v. Gell. 
v. 8. Sen. (Ed. 734. adunco are. 
Hor. Ovid. Cic. Virg.) The en- 
graving represents an original dis- 




covered in clearing the bed of the 
river Witham, near Tattershall, in 
Lincolnshire, which, it will be per- 
ceived, resembles precisely the instru- 
ment held by the liticen in the pre- 
ceding illustration. It is rather more 
than four feet long, made of brass, 
in three joints, like a modern flute, 
and has been gilt. 

2. (Xirvov). An augurs wand 
(Virg. jEn. vii. 187. Plut. Rom. 22. ) ; 
which was a short stick {brevis, Gell. 
v. 8.), bent into a twist at the end, 
like one side of a bishop's crosier, of 
which it is supposed to have formed 
the model. Liv. i. 18. Cic. Div. i. 
17. It was used for describing or 
marking out imaginary divisions in 
the heavens, for the purposes of 




divination ; and received its name 



LOCUL AMENTUM. 389 

from a certain resemblance which it 
bore to the military instrument last 
described (Porphyr. ad Hor. Od. 
i. 1. 23. Gell. /. c. Orelli ad Cic. 
/. c.) ; but in works of art, the end 
of it is not formed with a gentle 
curve, like the trumpet and the shep- 
herd's crook {pedum), but is always 
twisted into a spiral shape, like 
the annexed examples ; one of 
which represents the instrument itself, 
from the frieze of an ancient temple 
under the Capitol at Rome (supposed 
temple of Saturn), and the other, an 
augur with the lituus in his hand, from 
a medal of M. Antoninus. 

LIX/E. Camp followers ; persons 
of free birth, who followed an army 
into the field with the object of sup- 
plying the soldiery with goods and 
provisions of various kinds, as a source 
of individual profit. Liv. xxxix. j. 
Val. Max. ii. 7. 2. 

2. By Apuleius {Met. i. p. 18.'), 
servants or attendants upon a magis- 
trate, such as the lictors. 

LOCA'RIUM. The price or the 
sum paid for lodgings at an inn or 
lodging house. Varro, L. L. v. 15. 

LOCA'RIUS. One who makes a 
profit by relinquishing his seat at a 
place of public entertainment, such as 
the circus, theatre, &c. , to another who 
arrives too late to find room. Mart, 
v. 24. 

LOCEL'LUS. Diminutive of Lo- 
CULUS. Mart. xiv. 13. Pet. Sat. 140. 
Val. Max. vii. 8. 9. Any small box 
or case. 

LOCUL AMENTUM. Generally, 
any case, receptacle, or locker divided 
into separate compartments (Vitruv. 
x. 9. 5. and 6 ) ; thence more specially, 
and in the plural, an open bookcase 
covering the sides of a room from 
top to bottom, and divided into a 
number of separate compartments, or, 
as we should say, a set of book 
shelves (Senec. TranquiU. 9.) ; also, a 
set of nests in a dove-cote or 
pigeon-house (Columell, viii. 8. 3.) ; 
and a hive for . bees. Id. ix. 
12. 2. 



390 LOCULUS. 

LOC'ULUS. A coffin, in which 




the body was deposited entire, when 
not reduced to ashes on the funeral 
pile. (Justin, xxxix. I. Plin. H.N.\\\. 
1 6. Id. vii. 2.) The illustration re- 
presents a coffin of baked clay, with 
the plan of the interior underneath, 
in which the shaded part is a raised 
sill for the head of the corpse to rest 
upon ; and the round hole, a recep- 
tacle for aromatic balsams, which were 
poured into it through a corresponding 
orifice on the outside of the shell. A 
marble coffin of more elaborate design 
is introduced at p. 196. 

2. A common wooden box, in 
which the dead bodies of poor people 
and criminals were carried out. Ful- 
gent. Plane, Sandapila. 

3. A crib or compartment in a 
manger, whether of stone, marble, 
or wood, in which the allowance of 
each animal was separately deposited, 




in order that a greedy horse might 
not poach upon its neighbour, as 
shown by the annexed example, 
which represents the interior of an 
ancient stable in the bay Centorbi, in 
Sicily. Veg. Vet. ii. 28. 4. 

4. A small cabinet, box, or case, 
divided into separate compartments ; 



LO-RABIUS. 

such as we should call a desk ; in 
which money, keys, valuables, and 
things of small size were deposited for 
safe custody. Hor. Ep. ii. 1. 175. 
Juv. i. 89. Plin. H. N. xiv. 14. 

5. A case divided into separate 
compartments, in which the Roman 
boys carried their books, writing ma- 
terials, and other necessaries to school. 
Hor. Sat. i. 6. 74. 

LODI'CULA. Diminutive of 
L O D I X. A coarse and rough 
sort of blanket, chiefly manufactured 
at Verona (Mart. xiv. 152.); used as an 
outside wrapper (Suet. Aug. 83.) ; as 
a counterpane for a bed (Juv. vi. 195.); 
and as a rug for the floor. Pet. ^7/. 
20. 2. 

LOGE'UM (Xoyetor). (Vitruv. v. 7.) 
Properly, a Greek word, for which the 
Latin expression is Pulpitum ; which 
see. 

LOMEN'TUM. A wash or paste 
for the skin, made of bean meal and 
rice worked up together, which the 
Roman ladies applied to their faces 
for the purpose of taking out wrinkles, 
and giving a clear tint and smooth- 
ness to the skin. Mart. iii. 42. Com- 
pare Pallad. xi. 14. 9. 

LONGU'RIUS. A very long 
straight pole, employed for making 
divisions or fences in a meadow (Varro, 
R.R. i. 14. 2.); as a swinging bar for 
separating the horses in a stable, 
which the ancients did not divide into 
stalls (Varro, R.R. ii. 7. 10.) ; as a 
handle for the falx muralis (Cses. 
B. iii. 14.) ; or, indeed, for any pur- 
pose to which such an object was 
adapted. 

LORA. See Luka. 

LORA'RIUS. A slave who in- 
flicted the punishment of flogging 
upon his fellow slaves with twisted 
ropes or thongs of leather, at the 
command of his master. A character 
of this kind was frequently intro- 
duced upon the Roman comic stage 
(Gell. x. 3. 8. Plaut. Copt. Act. i. 
Sc. 2.), and is exhibited in the 
illustration annexed, from a marble 
bas-relief, representing a scene from 



LORICA. 




some play. The entire composition 
contains three 
more figures, 
a young girl 
playing the 
double pipes, 
and two old 
men, one of 
whom, the 
master of the 
slave, is about 
to chastise him 
in a fit of anger 
with his stick, 
but is held back 
by his friend , 
whilst the slav?, 
in flying from 
his master, falls into the hands of the 
lor arins, who is represented with a 
twisted thong in his raised arm, with 
which he is about to punish his 
crouching comrade. 

LORl'CA {BtopaZ). The term used 
generally to designate a piece of de- 
fensive armour, which covered the 
breast, back, belly, and sides as far as 
the waist ; including the cuirass or 
corselet of leather or metal, plain, 
scaled, laminated, ringed, and quilted, 
the coat of mail , and the loose doub- 
let, or flexible linen shirt ; all of which 
are separately described in the follow- 
ing paragraphs :— 

I. (yvnXoOcjpat). The Greek cui- 
rass of the most ancient period, made 
out of two separate and distinct pieces 





cf metal, modelled to the form of the 
owner , one of which fitted the breast 
and upper region of the belly, the 
other ihe back and loins , the two 
being fastened upon the person by a 



number of clasps or buckles {fibula, 
Trtpovai) down the sides, and with a 
shoulder strap or epaulette across the 
top of each shoulder. Each of these 
plates was termed a yva\ov. The 
illustration represents a pair of bronze 
originals discovered in a tomb at 
Psestum ; but it would appear that 
Pausanias had never seen a cuirass 
of this kind, excepting in pictures 
(Paus. x. 26. 2.) ; a remarkable proof 
of the value and antiquity of the spe- 
cimen here copisd. 

2. (Oujpa^ rrraSioQ or <jt(itoc). The 
cuirass usually worn by generals and 
superior officers, 
both Greeks 
and Romans, 
subsequently to 
the Homeric 
period; so 
termed because 
it would stand 
by itself when 
taken off and 
placed upon the 
ground. Like 
the last men- 
tioned, it was in reality formed of 
two pieces, but on an improved prin- 
ciple, being joined together by the 
armourer on the right side with hinges 
(■yiyyXvi-ioi), made by inserting a pin 
through a series of sockets, so that 
they would open and shut for putting 
off or on with convenience and ex- 
pedition. The joinings are clearly 
shown by the annexed engraving, 
from an equestrian statue of N. Bal- 
bus found at Herculaneum ; and upon 
a statue of the P10- Clementine Mu- 
seum (iii. 11.), similarly accoutred, 
they are represented with equal dis- 
tinctness and precision. The cuirass, 
as here exhibited, which was made of 
very thick leather, bronze, or other 
metals, constitutes the lorica itself , 
but the abdomen, the thighs, the del- 
toid muscle, and the arm-pits, which 
would be completely exposed when 
the arm was raised above the level of 
the breast, were protected by a series 
of leather straps (Trrfpi/ytc), usually 




392 



L0R1CA. 



appended to it round the arm-holes 
and lower rim of its two plates, which 
fell over the upper part of the arm, 
like a sleeve, and over the thighs, 
like a kilt, as exhibited in the illus- 
tration Si Legatus. 

3. (OibpaZ, XtTTidioToi). A corselet 
of scale armour in which the scales 
{squamce, Virg. JEn. ix. 707 .xi. 487. 
Sil. Ital. i. 527.), composed of horn 
or metal, and sewed on to a basis of 
leather or quilted linen, were formed 
to imitate the scales of a fish (X*- 
ftit), which are mostly circular at their 
bottom edges, and overlap one another 




in regular succession, as in the an- 
nexed example, from one of the tro- 
phies on Trajan's Column. 

4. (0<opa£ (poXiSwToc). A corselet 
of scale armour, made of the same 
materials as the last, similarly at- 
tached, but having its scales formed 
to imitate those of a serpent (QoXic. 




Compare Ov. Met. iii. 63. Prudent. 



Hamart. 423. squamosum thoraca de 
pelle colubrce), which are mostly an- 
gular at their extremities, and overlap 
in a lozenge shape, so that one of the 
angles points downwards in the 
manner exhibited by the example, 
from the Column of Antoninus, which 
resembles exactly the scales of the 
rattlesnake, the common viper, and 
many other reptiles. 

5. Lorica plum at a. (Justin, xli. 
2. ) A corselet of similar character 
to the two preceding, but having the 
plates of metal which cover it formed 
to imitate the feathers of a bird {plu- 
mce. Virg. ALn. xi. 770. Sallust. 
Fragm, ap, Serv. ad I,), instead of 




scales, as exhibited by the annexed 
example, from the Arch of Trajan, 
now inserted on the Arch of Constan- 
tine ; in which it will be observed 
that the plates are not so angular at 
their extremities as the last example, 
nor so regularly disposed as the one 
which precedes it. 

6. Lorica serta, or hamis cotiserta. 
(Nepos. xi. 1. Virg. AZn. iii. 467. v. 




259. Sil. Ital. v. 140.) A corselet 
also of scale armour, but in which the 



LOR/CA. 



393 



plates of bone or metal, instead of 
being sewn on to a leather or quilted 
jerkin, were fastened to one another 
by means of wire rings or hooks 
(hami) ; of which the illustration 
affords a specimen from an origi- 
nal fragment found at Pompeii. The 
plates are of bone ; and each has 
two holes near the upper edges, 
through which the connecting wire 
link is passed, as shown on a large 
scale by the right-hand part of the 
engraving ; but when the parts are 
put together, these are covered and 
protected by the circular end of an- 
other plate which laps over them, as 
shown by the smaller pattern on the 
left hand. 

7- A cuirass, formed by two broad 
plates of metal across the chest, and 
long flexible bands {lamina) of steel 
over the shoulders, and round the 
waist ; so arranged, that while they 
fitted closely to the shape of the 
wearer, they would adapt themselves 
to all his motions by slipping under 
and over one another, as the arms 
were raised, or the body bent, as 
shown by the annexed example, from 
the Column of Trajan. The charac- 
teristic name by which cuirasses of 
this kind were distinguished has not 




survived ; but the object itself is of 
very common occurrence on the tri- 
umphal arches and columns. It ap- 
pears to have constituted the ordinary 
armour of the common legionary 
soldier under the empire ; for it is 
never worn by the superior officers, 
but always by the gregarians, whose 



rank is understood from the duties 
they perform when not engaged with 
the enemy ; such as felling timber 
for stockades, building forts, trans- 
porting provisions, &c. Some writers 
have recognised this as the cuirass of 
serpents' scales (0oXtoa»r6c. No 4.), 
to which it does not possess sufficient 
resemblance. 

8. ((hbpa% a^uoidoDTOt). A shirt of 
chain mail, formed by a regular series 
of links, connected together into a 
continuous chain {iiKvaic, ; molli lorica 
catena, Val., Flacc. vi. 233). It was 
worn by the hastati under the repub- 
lic (Polyb. vi. 23.) ; and is repre- 
sented on some of the cavalry sol- 
diers in the slabs which were removed 
from the Arch of Trajan to decorate 




the one built by Constantine near the 
Coliseum, as well as- on the annexed 
figure, from the Column of Antoninus ; 
in which the minuteness of the touches, 
as well as the close and elastic fit of 
the shirt, are evidently intended to 
characterise a coat of chain mail. 

9. Lorica lintea (tiwpali Xirtoc). A 
loose jacket of linen, several folds 
thick, steeped in 
vinegar and salt 
(Nicet. Choniat 
Script. Byzant. 
p. 247. Paris. 
1647.) ; more 
especially worn 
by the Oriental 
nations, but also 
adopted by the 
Greeks and Romans (Nepos, Jgtitcr, 




394 



LORICATUS. 



LOR UM. 



I. Suet. Galb. 19. Liv. iv. 20. 
Avrian. 7 act. p. 14.). It is fre- 
quently represented on the columns of 
Trajan and Antonine, similar to the 
example, as a long doublet, reaching 
below the hips, easily yielding as the 
body bends, and fitting rather loosely 
on the figure. 

10. In a general sense, the word is 
also applied to any thing which serves 
as a covering, protection, or defence 
for what is behind or under it ; such 
as the coating of cement upon a wall 
(Vitruv. ii. 8. 18. vii. 1. 4.), and a 
breastwork which serves as a screen or 
fortification (Tac. Ann. iv. 49. Com- 
pare Veg. Mil. iv. 28. ) ; &c. 

LORICA'TUS (rt9(jjpaKi(Ti.iBToc). 
Armed with a cuirass, corselet, or 
coat of mail, as described in the vari- 
ous paragraphs of the last article, and 
shown by the woodcuts, pp. 144. 159. 
178. 330., and many others in the 
course of these pages. 

2. Loricatus eques. (Liv. xxiii. 19.) 
Same as C at aphr actus. 

3. Loricatus elephas. (Hirt. B. Afr. 
72.) An elephant equipped for battle, 
by having a breast- work, or tower for 
armed men upon his back, like the 
annexed example, from an engraved 




gem. It is obvious that the almost 
impenetrable hide of this animal 
would not require the assistance of 
armour, like the horse ; and Polybius 
(Br. HLt. 22.) uses the diminutive 
HiopaKiov {loricula) for the breast-work 
of a tower on an elephant's back. 

4. Coated with cement. Varro, 
R.R. i. 57. I. 

LORI'CULA (Bupaictov). Dimin- 
utive of Lorica ; especially a slight 



breastwork or fortification. Hirt, 
B.G. viii. 9. Veg. Mil. i. 57. 

LORUM (t/iac). In general, any 
strap or throng of leather ; whence 
applied more specially in the following 
senses : 

1. The rein of a bridle for riding or 
driving. Virg. Ov. Juv. See Frenum, 
Habena. 

2. A long rein or rope with which 
the ancient huntsman used to keep in 
his dog, whilst tracking the lair of a 
wild beast. Its object was to prevent 
the hound from ranging, from starting 
his prey too soon, and from closing 
with it before the huntsman could 




come up to his assistance. It was of 
considerable length, which is indicated 
by the coils in the annexed example, 
from a sepulchral marble in the 
Museum, of Verona; and the dog by 
this means also led on his master at 
a convenient distance to the lair, which 
he traced by scent. Plin. H.N. viii. 
61. Grat. Cyneg. 213. Senec. Thyest. 
497- 

3. The leathern bulla and thong 
which attached it to the neck ; worn 
by the children of plebeians. Plin. 
H.N. xxxiii. 4. Juv. v. 164. See 
Bulla, 4. 

4. The thong by which a lectica 
was suspended upon the poles {asse- 
rts), -which rested upon the shoulders 
of the bearers (Mart. ii. 57.), as ex- 
plained and illustrated s. Asser, I. ; 
also by which any burden was sus- 



LUCERNA. 



LUCTA. 



395 




pended from the phalanga (Vitruv. 
x. 3. 7 and 8.), as explained and illus- 
trated s. Phalanga and Phalan- 

GARII. 

5. The leather thong by which a 
boxing-glove was fastened round the 
arm. Prop. iii. 14. 9. and illustration 
s. Cestus. 

6. A thong of twisted leather with 
which slaves were punished (Plaut. 
Fs. i. 2. 13. Ter. Ad. ii. I. 28.) by 
the Lorarius ; which see. 

7. The girdle of Venus. Mart. vi. 
21. Same as Cestus. 

LUCER'NA (\v X voc\. An oil- 
lamp, as contradistinct from candela, 
a candle ; gene- 
rally made of \ hi 
terra-cotta or ^ 
bronze, with a 
handle at one 
end, a nozzle 
(myxa) for the wick (ellychniwri) at the 
other, and an orifice in the centre for 
pouring in the oil. When in use they 
were intended to be placed upon some 
other piece of furniture, or on a tall 
upright stem (Candelabrum 2.), or 
sus pended by chains from a lamp- 
holder (Lychnuchus), or from the 
ceiling. Of course they were made 
in a great variety of shapes and pat- 
terns, according to the nature of the 
materials and the taste of the artist 
who designed them ; but however 
much ornamented, or enriched by 
fanciful adjuncts and details, they 
generally preserve more or less of 
the characteristic form of a boat- 
shaped vessel, exhibited by the an- 
nexed example. 

2. Lucerna 
bilychiiis (Si/j- 
j'Soc >. A lamp 
provided with 
two wicks, and 
consequently 
with two noz- 
zles, from each 
of which a 
separate flame 
Avould issue, as 
in the annexed 





illustration from an original of 
bronze. Pet. Sat. xxx. 2. 

3. Lucerna polymixos {ttoXv/jlvZoi;). 
A lamp with 
several nozzles 
or wicks (Mart, 
xiv. 41.) The 
annexed ex- 
ample from an 
original of terra- 
cotta contains 
four ; but others 
Math five, six, seven, eight, and even 
twelve and fourteen, have been found 
in the excavations of Herculaneum 
and Pompeii. 

4. Lucerna pensilis. A lamp sus- 
pended by a chain (instead of being 
placed upon a stand, candelabrum, like 
the example No. 2.) from a supporter 
with branches, or from the ceiling. 
Pet. Sat. 30. 3. and illustrations s. 
Lychnuchus and Lychnus. 

LUCTA, LUCTA'MEN, LUO 
TA'TIQ(7roA*7, TraXaiafia). Wrestling, 
one of the games of the Greek palaes- 
tra, in which the combatants endea- 
voured to throw one another on the 
ground (Ov. Met. ix. 33 — 61. Stat. 
Fheb. vi. 830 — 905.) by every means 
of bodily exertion, except striking, 
which was not permitted, or by any 
trick (Xen. Cyr. i. 6. 32.) which 
their ingenuity could devise. Grace, 
however, and elegance of attitude and 
motion were regarded as an important 
feature in the struggle. (Plato, de Leg. 
796. Cic. Oral. 68.) The wrestling- 
ground was strewed with sand, and 
the bodies of the combatants were 
sprinkled over with fine dust {/laphe), 
in order to give them a firmer hold 
upon their adversaries ; which custom 
is alluded to in the following illustra- 
tion, by the basket upset upon the 
ground. 

The contest itself was of two kinds ; 
the simplest and earliest in practice 
being termed stand-tip wrestling {iraKi) 
6p9>i. Lucian. Lcxiph 5.) ; in which 
the contest was only carried on as 
long as both parties kept their footing, 
as represented in the annexed wood- 



396 LUCTATOR. 



LUDUS. 



cut from a bas-relief of the Vatican 
Museum ; but if one was thrown, his 




antagonist permitted him to rise and 
recommence the struggle, until he 
met with three falls, which decided 
the victory. (Senec. Ben. v. 3.) The 
other kind, which was of later adop- 
tion, was termed ground wrestling 
(a\irct]vic), and had a considerable 
resemblance to the pancratium, for 
the contest was continued on the 
ground after one or both parties had 
fallen, as exhibited by the annexed 
illustration from the Vatican Virgil, 




and until one of them, finding himself 
unable to rise again, was obliged to ac- 
knowledgehimself vanquished. Sen. I.e. 

LUCTATOR (TrnXmarijc). A 
wrestler. Gell. iii. 15. Senec. Ben. 



v. 3. Ov. Trist. iv. 6. 31. See the 
preceding article and illustrations. 

LU'DIA. Originally designated a 
female who danced and acted in public, 
like the male ludws, in which sense 
it may be applied by Martial (v. 24.) ; 
but latterly it meant the wife of a 
gladiator (Juv. vi. 2.66.). as the school 
which he kept was termed ludus. 

LUDIM AGISTER. A school- 
master, who kept a school in which 
young persons were instructed in the 
rudiments of literature. Ascon. in 
Cic. Div. Ver. 14, Cic. N. D. i. 26. 
Mart. ix. 69. x. 62. and illustration 
s. Ludus. 

LU'DIO and LU'DIUS (W,W). 
The original name for a stage-player 
or mimic dancer (Liv. vii. 2.) ; but 
afterwards connected with a sentiment 
of depreciation, such as is conveyed 
by our expression, strolling player ; 
for the name is applied to those who 
danced and acted in the public streets 
I (Ov. A. Am. 112.), or in the Circus, 
for the amusement of the populace 
(Suet. Aug. 74.), in which jugglers, 
fortune-tellers, tumblers, and persons 
of that class used to congregate, as 
they still do upon our race-courses. 

LUDUS. Literally, a game, sport 
or pastime, more especially such as 
were invented for the purpose of 
assisting to develop the powers of the 
mind or body ; whence the same name 
is given to the place where the neces- 
sary discipline or exercises were gone 
through, which all attainments, whe- 
i ther intellectual or physical, require. 

I. Ludus literar/us, or simply ludus 
[cidaaKaXuur). A school for the in- 



LUMINAR. 



LUPANAR. 



397 



struction of youth, to which the 
children of both sexes and all classes 
were sent when old enough, public 
education being thought preferable 
amongst the ancients as well as our- 
selves, to private tuition. (Festus s. 
Schola. Cic. Fain. ix. 18. Plaut. Pers. 
ii. I. 6. Id. Merc. ii. 2. 32.) The 
illustration represents the interior 
of a school-room at Herculaneum, 
from a painting discovered in that 
city, in which both boys and girls 
are taught together, as in Martial 
ix. 69. 

2. Ludus gladiator ins. An estab- 
lishment in which a company of 
gladiators were trained and taught 
the practice of their art, under the 
instruction of the Lanista. Suet. Jul. 
31. Cses. £. C. i. 14. 

3. Ludus fidicinus. A school in 
which instrumental music was taught. 
Plaut. Rud. Prol. 43. 

4. Ludus Trojit. The Trojan 
game ; a sort of review or sham-fight 
exhibited by young persons of good 
family on horseback. Tac. Ann. xi. 
11. Suet. Aug. 43. Virg. JEn. v. 448. 
— 587) ; also called Decursio, which 
see ; the medal used to illustrate that 
word bears the inscription Decursio 
Ludus Troj^. 

5. Ludus latrunculorum. A game 
of skill having considerable resem- 
blance to our draughts ; described s. 
Latro 2. 

6. Ludus duodecim scriptorum. A 
game of skill approximating to our 
backgammon. See ABACUS, 2. 

7. Under the general name of ludi 
the Romans also included chariot- 
races, gladiatorial combats, and thea- 
trical representations, which were ex- 
hibited on certain festivals in honour 
of the gods, or given by wealthy 
individuals as an entertainment to the 
public. 

LU MINAR. Probably a window- 
shutter (Cato, R. R. 14. Cic. Att. xv. 
26) ; but the interpretation, as well as 
the readings, in both passages are un- 
certain. 

LUNA {lirio<f>vpiov). An ornament 



in the shape of a half moon, which 
the Roman senators wore upon their 
boots. (Juv. vii. 193. Stat. Sylv. v. 
2. 28.) Considerable difference of 




opinion formerly existed amongst 
scholars respecting the actual mean- 
ing of this term ; but it is now gene- 
rally admitted to have been a buckle 
of ivory or silver, which joined 
together the sides of the shoe, just 
above the ankle (Viscont. Lnscript. 
Triop. p. 83. seqq.), as the Greek 
name implies, and as shown by the 
right - hand figure in the annexed 
engraving, from a statue published by 
Balduinus (de Calceo, p. 69.), after 
Casali. The right-hand figure is copied 
from an ivory ornament found in 
the Roman catacombs, which is 
believed to be an original senatorial 
luna. 

LUNA'TUS. Ornamented with 
ihe senatorial luna ; of the shoe (Mart, 
i. 50. pellis ; of the foot (Id. ii. 29. 
31. planta) ; as shown by the pre- 
ceding illustration. 

2. Shaped like a half moon ; of the 
Amazonian shield, which is hollowed 
into the form of a crescent (Virg. 
Ain. 1. 490. and illustration s. Pelta); 
hence agnem lunatum (Stat. Theb. v. 
145.), a body armed with such shields. 

LU'NULA. Diminutive of Luna. 
A small ornament in the form of a 
half moon, worn by women suspended 
from their necks (Isidor. Orig. xix. 
31. Tertull. Cult. Fain. 10.); and by 
children as a token, amulet, or play- 
thing. Plaut. Ep. v. 1. 33. and il- 
lustration s. Crepunda, where it is 
seen amongst other objects round a 
child's neck. 

LUPA'NAR and LUPANA'- 
RIUM (7rnpvuoi ). A receiving-house 
for the accommodation of immoral 
characters, kept by the procuress 
(leno), who let out separate chambers 



398 



L UP A TUM. 



LYCHXUCHUS. 



(celiac) to the women frequenting it. 
Juv. vi. 121 — 8. Quint, v. io. 39. 
Ulp. Dig. 4. 8. 21. 

LUPA'TUM (aro/miov rtpiovuToi'). 
(Pollux, x. 56.) A very severe kind 
of snaffle-bit surrounded w ith pricks 
or jags (ixli'oi, TpttfoXoi. Pollux, i. 1 
148.), like the teeth of a wolf, from 
which it took the name (Serv. ad 
Virg. Georg. iii. 208.) ; and, in conse- 
quence, usually characterized by the 
epithet durum. Virg. /. c. Ov. A. 
Am. i. 2. 15. Hor. Od. i. 8. 6. Stat. 
Theb. iv. 730. 

LUPUS (\vkoc). Same as Lupa- 
tum. Ov. Trist. iv. 6, 4. Stat. Ach. 
1. 281. Plut. ii. 641. F. 

2. A small straight-handled saw. 
Pallad. i. 43. 2. Same as Serrula 

MANUBRIATA. 

3. Lupus ferreus. A sort of grap- 
pling iron, employed in the defence 
of fortified places to seize upon the 
beam of a battering-ram {aries), and 
break the force of its blows by di- 
verting it from the proper direction. 
Liv. xxviii. 3. Veg. Mil. ii. 25. iv. 23. 

LURA. Properly the mouth of the 
large leathern sack or skin called 
culeus, in which wine and oil were 
transported from place to place, as 




exhibited in the annexed cut from a 
Pompeian painting ; or of a common 
wine-skin (Uter, and the illustration 
there given) ; whence it was aho 
used to signify the skin itself, or a 
leathern bag. Festus s. v. Auson. 
Perioch. Od. 10. 

LUSTRUM. A solemn purifica- 



tion or expiatory offering, made by 
the censors every five years, upon 
their retirement from office, on behalf 
of the whole people ; at which a sow, 
a sheep, and an ox, were conducted 
three times round the assembled mul- 
I titude in the Campus Martius, and 
afterwards sacrificed. Liv. i. 44. 
xxxv. 9. xlii. 10. 

LYCHNU'CHUS (\v X vov X oc) 
Properly a Greek word, which in 
that language appears to have de- 
signated more particularly a contri- 
vance in the nature of our candlestick ; 
viz., a stand into which a candle or 
torch was inserted, in order to keep it 
in an elevated and upright position 
(Candelabrum, i.) ; or a lantern in 
which an oil lamp (lucema, Xvxvot) 
was placed for the convenience of 
transport (Laterna) ; for the pas- 
sages which allude to the manner of 
using it express the action of putting 
the light in or taking it out of a stand 
or case — IvOtiQ tov \v\vov, Pherecr. 

5- t^fXujv lie tov \v\i ovxov TOV 
Xvxvov. Alex. Ki]pvTT. I. 

2. The Latin word lychmtchus has 
a signification somewhat differing 
from its Greek original, and contradis- 




tinct from Candelabrum, being used 
to designate a lamp-stand adapted for 
holding 7?iany lamps (Suet Jul. 47. 
Id. Dom. 4. Cic. Q. Fr. iii. 7.) ; 
whereas the candelabrum only sup- 
ported one. A great number of con- 
trivances of this kind have been 



LYCHNUS. 

discovered in the excavations of Her- 
culaneum and Pompeii, of various 
forms and designs, from one of which 
our illustration is copied ; but 
they all possess this characteristic 
feature, that the lamps are suspended 
from them by chains, as in the ex- 
ample, instead of being placed upon a 
flat plate {superficies), as is the case 
with the candelabra. This peculiarity 
may also be taken into account as 
marking a difference between the two 
objects, and the words by which they 
were respectively named. 

3. Lycknuchus pensilis. A stand 
supporting several lamps, suspended, 
like our chandeliers, from the ceiling, 
(Plin. //. N. xxxiv. 8.) The illus- 
tration represents the upper surface 




of one of these pendant lamp-stands 
of marble, in the Villa Borghese, 
which carried eight lamps at least, 
one from each of the cross-hooks 
round its margin. The surface is 
flat, and without any orifice. The 
small circle in the centre shows a 
portion still remaining of the iron 
bar, by which it was suspended ; 
and the eight other projecting points 
may have served for placing additional 
lamps upon, when required. 

LYCH'NUS {\v X fioc_). Properly a 
Greek word which in that language 
signifies any portable light, including 
also the stand or case, a candlestick 
or lamp for instance, in which it was 
placed. (Herod, ii. 62. 133. Aristoph. 
Nub. 56.) But the Romans appear 
to have adopted the word in a more 
special sense, to indicate a light or 



LYRA. 399 

lamp suspended from the ceiling, as 
in the annexed example, from a paint- 




ing discovered in the villa Negroni, 
at Rome ; for the lychnus is expressly 
mentioned as a pendant light by most 
of the writers who use the term. 
Ennius ap. Macrob. Sat. vi. 4. depen- 
dent lychni laquearibus ; copied by 
Virgil, A?n. i. 730. Lucret. v. 296. 
pendentes lychni; Stat. Theb. i. 521. 
tendunt vincula lychnis, &c. 

LYRA {\vprj). A tyre ; a small 
and very ancient stringed instrument, 
the invention of which is fabulously 
attributed to Mercury, though it was 
undoubtedly introduced into Greece 
through Asia Minor from Egypt. 
The cords were open on both sides, 




without any sounding-board, and 
varied in number from three to nine. 
It was' sounded with both hands, one 
on each side ; or with a quill ( plec- 
trum ) in one hand and the fingers of 
the other ; being placed upon the 
knees if the player was in a sitting 
position, or suspended by a band over 
the shoulder if erect. The form of 
the frame would naturally be varied 
according to the taste or fancy of the 
maker ; but without destroying the 
leading characteristics of the instru- 



400 



LYRIC EN. 



MACELLUM. 



merit, as shown by the difference in 
the two examples introduced, both of 
which are from sepulchral paintings ; 
the one on the left representing a 
tetrachord, i. e., with four strings ; 
the other, a hexachord, with six. 

LYRTCEN. Same as Lyristes. 

LYRIS'TES {\vpi<jTt]c). One who 
plays upon the lyre (Plin. Ep. i. 15.); 
which was done either by twanging 
the strings with both hands, like a 
harp in the manner represented by 
the left-hand figure in the illustration 




from a statue of Apollo in the Vati- 
can ; or by striking them with a 
small quill (plectrum) held in one 
hand, and the fingers of the other, 
as performed by the female figure 
on the right side of the illustra- 
tion, from a Roman fresco painting, 
also preserved in the Vatican. The 
female player was termed Lyristria. 
Schol. Vet. ad Juv. xi. 162. 

M. 

M ACELL A'RI U S (6&o7ru>\r)c). A 
•victualler, or one who kept a cook's 
shop, as contradistinct from Lanio, 
the meat-purveyor. (Varro, R. J\. 
hi. 2. 11.) He dealt m provisions of 
every description, flesh, fish, and fowl 
(Suet. Vesp. 19. Compare Plaut. 
AuL ii. 8. 3 — 5.) which he sold ready 
cooked (Suet. Jul. 26). His shop 
was termed taberna macellaria, and 



his trade regarded as one of the 
lowest, sordidissimce mercis. Val. 
Max. iii. 4. 4. 

M ACE L'L U M frioKeXAoi/). An 
enclosure or building which served as 
a market, in which all kinds of pro- 
visions, fish, flesh, poultry, game, and 
vegetables were sold (Varro, L. L. v. 
147. Plaut. Aul. ii. 8. 3. Suet. Jul. 
43.}, and probably ready dressed ; for 
in early times when cooks were not 
regularly kept in private families, each 
person hired one from the niaceUum 
when his services were required. 
(Plin. H. Al xviii. 28.) It differs, 
however, from the forum, which was 
I an open area surrounded by colon- 
j nades, and in which the market was 
held upon stated days in each week, 
and supplied with various kinds of 
manufactured articles, as -well as all 
descriptions of agricultural produce. 
There were two edifices appropriated 
for this purpose in the city of Rome, 
one on the Esquiline, called Macellum 
Livianum ; the other on the Ccelian, 
called Macellum Magnum, surrounded 




with two stories of columns, and 
covered in the centre with a high 
dome (t/iolus, Varro, ap. Non. s. 
Sulcus, p. 448.), which is represented 
by the annexed woodcut from a medal 
of Nero, by whom it was, perhaps, 
restored, or decorated, or enlarged. 
The square platform in front upon two 
legs i-epresents a tray or stand ( mensa ) 
upon which the provisions were set 
out ; and the two objects upon it, on 
either side, which in our engraving 
look like balusters, from imperfect 



MACERIA. 

delineation, are in the original clearly 
meant for a pair of scales. 

MACER'IA {huk&ov). A rough 
wall or enclosure to a vineyard, garden, 
paddock, &c. (Isidor. Orig. xv. 9. 4. 
Cic. Earn, xvi. 18.) These were 
either made of irregular stones, put 
together without mortar (Serv. ad 
Virg. Georg. ii. 417. ), or sometimes of 
brick, both baked and raw ; as well 
as of earth and small stones rammed 
into moulds, like what is now termed 
pise. Varro, R. R. i. 14. 4. 

MACH.E'RA {fxa X aipa). A sword 
which has only one edge (Isidor. 
Orig. xviii. 6. 2.); consequently, in 
an especial manner, adapted for cut- 
ting rather than thrusting ; as the 
passages in which the word occurs, 
with any context to illustrate the 
manner of using it, also distinctly 
imply an operation like that of 
chopping or cleaving. (Plaut. Mil. 
ii. 5. 51. Suet. Claud. 15. Senec. 
Ben. v. 24.) By the Homeric Greeks 
it was worn next to the sword-sheath, 




rind employed as a hunting-knife, for 
sacrificing animals, and cutting up 
meat at table ; but it came originally 
from the Oriental nations, who are 
especially characterised for the use of 
it (yEsch. Pers. 56.). It is, moreover, 
distinguished from the leaf-shaped, 
two - edged, cutting and thrusting 
sword {Z'i.<pog gladius, Xen. Symp. 
ii. 11. Plato, Symp. p. 190. a.). All 
these circumstances induce a belief 
that the machcera was similar to the 
hunting-knife (culler venato) ins); and 
that its peculiar form is exhibited in 
the annexed woodcut from an en- 
graved gem (Agostini. ii. 26.), on 
which it is used by a gladiator, evi- 
dently of a foreign race ; as it likewise 
is by a bestiarius contending with a 
leopard in a Roman bas-relief inserted 
at p. 83. 

MACIEE'RIUM (fiaxciipiov, pa- 



MACROCHERA. 4OI 

Xaipic). Diminutive of MACH^RA. 
A fishmonger's knife (Plaut. Aul. ii. 
9. I.) ; surgeon's knife (Aristot. Gen. 
An. v. 8. 13 ) ; barber's razor (Aris- 
toph. Eq. 413.); all which senses 
imply a form of instrument similar to 
the one described and exhibited in the 
last article, and thus confirm the sug- 
gestion there made respecting its par- 
ticular formation. 

MACH^EROPH'ORUS (pa X oip6- 
Qopuc). Armed with the hunting- 
knife ( 7nachcera ) , as characteristic of 
foreign nations (Cic. Q. Fr. ii. 10.) ; 
the Egyptians (Herod, ix. 32.) ; Per- 
sians (yEsch. Pers. 56.) ; Thracians 
(Thucyd. ii. 96.) 

MA'CHINA (pijxan)). A general 
term, like our machine, comprising 
every sort of artificial contrivance 
invented by men to assist them in 
their operations, or which is itself 
made to perform the part of an agent ; 
as for raising or drawing weights 
(Vitruv. x. I.); erecting columns 
(Cic. Verr. ii. 1. 55.) ; drawing 
vessels on shore (Hor. Od. i. 4. 2.) ; 
discharging missiles (Liv. Sail. &c.) ; 
a scaffolding for builders and deco- 
rators (Ulp.Dig. xiii. 6. 5. Vlin. H. A'. 
xxxv. 37.) ; a stand upon which 
slaves were exposed for sale (Q. Cic. 
Pel. Cons. 2.), &c. ; all of which are 
described and illustrated under the 
special names by which they were 
designated. 

MACHIN AMENTUM. (Liv. 
Tac. Cels.) Same as Machixa. 

MACHIN A'RIUS. Any one who 
works upon a scaffolding (Paul. Dig. 
9. 2. 31.) ; but more frequently used 
as an adjective to express that which 
is worked by, or itself works with, 
machinery ; as viola machinaria 
(Apul. Met. vii. p. 143.)* a corn-mill 
driven by cattle (see Mola 2. ) ; asinus 
machinarius (Ulp. Dig. ii. 6. 7.), an 
ass which works a mill. 

MACROCHE'RA. A word 
coined out of the Greek paicpoxtip, 
which means long-armed ; whence 
used to designate a tunic with long 
sleeves (Lamprid. Alex. Sev. 33. \ ; 

2 C 



4-02 



MACROCOLUM. 



MJENIA NUM. 



only another term for Chiridota, 
which see. 

MACROCO'LUM or MACRO- 
COL'LUM. Paper of the largest 
size, such as we might call royal. 
(Cic. Aft. xvi. 3. xiii. 25. Plin. H. N. 
xiii. 24.) It is not clear whether this 
paper was manufactured in one large 
sheet, or made by glueing several 
ordinary sheets into one : nor 
whether the name was formed from 
icioXoi', a limb, or tcoWn, glue, with 
the adjective /loicpoc affixed. 

MACULA. The mesh of a net. 
Ov. Her. v. 19. Yarro, R. R. iii. II. 
3. Cic. Verr. ii. 5. 11. Rete. 

MxEAN'DER, MEAN'DROS, or 
M/EAN'DRUS {/jaiuvpoc). A Greek 
ornament designed, as it were, in imi- 
tation of the peculiarly winding course 
of the river Meander, from which it 
derived its name. (Festus s. v. Serv. 
ad Virg. v. 250. Strabo xii. 7. 

15.) It is often employed as a border 
for dresses, round the edges of fictile 
vases, and as an architectural decora- 
tion ; of which latter kind the annexed 




example affords an instance, from a 
small brick building near Rome, 
which goes by the name of the temple 
del Dio Redicolo. 

MILIUM. See Melium. 

M^E'NAS [fiatvac). Properly a 
Greek word, signifying a raving 
woman ; whence adopted by the 
Roman poets for a Bacchante (see 
Baccha and illustration) infuriated 
by the rites of Bacchus (Sil. Ital. iii. 
395. Senec. Troad. 675.) ; an ener- 
vated priest of Cybele (Catull. 63. 
23.) ; or a prophetess under the ex- 
citement of inspiration. Senec. Agavi. 
719. 

M^NIA'.NUM. A balcony; pro- 
jecting over the street from the upper 
lloor of a house or other building ; 
and supported upon brackets affixed 
to the external wall, or upon columns 



planted on the ground. (Festus, 
s. v. Val. Max. ix. 12. 17. Cic. Acad. 
ii. 22.) These balconies were fre- 
quently constructed over the colon- 
nades of a forum (Vitruv. v. 1. 2.) ; 
or thrown out over the entrance 
porch of a house (Isidor. Orig. xv. 
13. II.), as exhibited by the annexed 
example, from a house discovered at 




; Herculaneum, with the ground-plan 
of the street and adjacent part of the 
house on the right hand. A. The 
balcony, springing from the upper 
story (C) ; constructed over the en- 
trance (e on ground-plan), and sup- 
ported upon three square pilasters in 
file (BB elevation and ground-plan \. 
placed upon the margin of the foot 
pavement (g), so that it projects to a 
considerable extent over the road- 
way (f). At one period, such acces- 
sories were prohibited by law in 
' ancient Rome (Ammian. xxvii. 9, 
\ 10. ), on account of the narrowness of 
the streets ; but by a subsequent 
building act they were allowed, pro- 
vided they had an open space, in 
some cases of ten, in others of fifteen, 
feet clear from any adjacent building. 
Impp. Honor, et Theodos. Cod. 8. 
10. 11. 

2. In a theatre, amphitheatre, or 
circus, a mcenianum means one entire 
range of seats, rising in concentric 
circles between one landing place 
[prcecinciio) and another, but divided 
perpendicularly into a number of 
compartments {amei) by the flights 
of steps {scales) which the spectators 
descended or ascended to and from 
their places. (Inscript. af>. Marin. 
Fr. Aiv. p. 224. seqq.) The number 
of these varied according to the size 



MAGALIA. 



M AGISTER. 



of the building; the Flavian amphi- 
theatre contained three, with a co- 
vered portico for women above ; the 
theatre at Pompeii, from which the 
annexed illustration is taken, had 




only two, of each of which a portion, 
containing three cunei, is shown by 
the engraving ; sufficient, however, 
to elucidate the object, for it will be 
readily understood that each marnia- 
num comprised an entire circuit. 

MAGA'LIA and MAPA'LIA. 
Carthaginian words, designating in 
the language of that country the cot- 
tages of the rural population (Serv. 
ad Virg. JEn. i. 420. iv. 259.), 
which were slight huts made of reeds 
or cane (Sil. Ital. xvii. 88- — 89.) ; 
sometimes of a circular and conical 
form, like an oven (Cato, Orig.ap. 
Serv. /. c. Hieron. in prol. Amos) ; 
or at others of an oblong shape, with 
bulging sides, like the hull of a vessel 
(Sallust, Jug. 211.), both of which 
models were also of common occur- 
rence in other countries. The Ro- 
mans described them by the words 
Cas^E and Casul^e, where see the 




illustrations ; and the example here 



introduced represents a German vil- 
lage of similar huts from the column 
of Antoninus. Some scholars make a 
distinction between magalia and 
mapalia ; thinking that the first word 
was used to designate the stationary 
huts of a village, the latter when they 
were placed upon carriages, and 
movable from place to place (Heyne 
ad Virg. ALn. i. 421.) ; at all events, 
the first syllable of maga/ia is long, 
in mapalia short. 

MAG'IDA and MAG'IS. A 
large sort of dish used at table ; but 
of which nothing precise is known. 
Varro, L. L. v. 120. PI in. H. N. 
xxxiii. 52. 

MAGIS'TER. A word very ge- 
nerally applied to any person who 
has a command or authority as the 
chief over a number of others ; e. g. 
magister popiili, the dictator (Cic. 
Fin. iii. 22.) ; magister equitum, the 
officer who commanded the cavalry 
under the dictator (Liv. iii. 27.) ; 
magister moium, the censor (Cic. 
Fam. iii. 13.) 

2. In the navy, the magister was 
an officer answering to our master ; 
he directed the navigation of the 
vessel, gave orders to the steersman, 
sailors, and rowers ; and sat under 
the tent (thromts) at the stern of the 
vessel, as in the annexed example, 




from the Vatican Virgil. (Liv. 
xxix. 25. xlv. 42.) In the commer- 
cial marine he answered to what we 
call a skippsr, to whom the charge of 
the vessel and crew was entrusted 
by the owners, under whose instruc- 
tions he acted. (Ulp. Dig. 14. I. I.) 
But these accurate distinctions are 
not always observed. 



404 



M AGISTER. 



MALLEATOR. 



3. In civil offices the term answers 
to our principal, president, or cliair- 
man of the board J as, magister socie- 
tatis, the director of a company (Cic. 
Fam. xiii. 9.) ; magister vicorum, a 
parish overseer, elected by the in- 
habitants of each nicies, to manage 
the parochial affairs of the district 
(Suet. Aug. 30. Tib. j6.) ; and the 
chairman or president of any corpo- 
rate body. Inscript. ap. Grut. 489. 
10. ap. Marin. Fr. Arv. n. xv. 

4. In private and social life, the 
president at a feast and drinking 
bout (Apul. Apol. p. 556.) ; also 
termed rex convivii, arbiter bibendi, 
and ovfiiroaiapxoQ by the Greeks. 
He was elected by a throw of the 
dice, regulated all the proceedings, 
fixed the proportions in which the 
water and wine were to be mixed, 
the quantity each person was to 
drink, exacted the fines for breaches 
of order, and, in short, his word was 
to be a command. Hor. Od. ii. 7. 
25. Sat. ii. 2. 123. Xen. An. vi. I. 30. 

5. Magister ludi. (Plaut. Bacch. 
iii. 3. 37.) Same as Ludi magister. 

6. Under the empire, Magister 
was a title given to the chiefs of 
several departments or offices in the 
state and Imperial household ; as, 
magister epistolarum, a chief secretary 
who answered letters on behalf of the 
emperor ; magister libellorw?i, who 
received and answered petitions ; 
magister memories, who received the 
decisions from the emperor's mouth, 
and communicated them to the par- 
ties interested ; magister scrittiorum, 
who had the custody of all the docu- 
ments and papers belonging to the 
emperor ; magister officio7-um, a sort 
of chamberlain at the Imperial court, 
who attended and assisted at audi- 
ences, &c. ( Ammian. Cassiodor. Spar- 
tian. Lamprid. Inscript. &c.) 

7. The title of magister militnm or 
armorum was given by Constantine 
to each of the two generals who re- 
spectively commanded in chief over 
each branch of the army, the infantry 
and cavalry. (Ammian.) 



MAGISTRATUS. The office of 
a magistrate : that is, of any person 
invested with public authority to ad- 
minister the law. Thus, during the 
monarchy, the king ; under the re- 
public, the dictator, consuls, censors, 
praetors, aediles, tribunes of the peo- 
ple, the propraetor and proconsul, as 
well as the decemvi7'i litibus judicandis, 
had each magisterial authority. 

2. A magistrate ; the title given to 
any of the officers mentioned in the 
preceding paragraph, but who were 
also divided into the following classes, 
distinguished by a name descriptive 
of the rank or position which each 
enjoyed. I. Major es ; chief magis- 
trates elected at the comitia centnriata, 
including consuls, censors, and prae- 
tors. 2. Minores ; inferior magis- 
trates appointed at the comitia tributd, 
viz., aediles, tribunes, and decemvirs. 
3. Curides ; curule magistrates, who 
were entitled to the honour of a sella 
curulis, comprising dictators, consuls, 
praetors, censors, and curule aediles. 

5. Plebeii ; who were originally only 
chosen from plebeian families ; viz. 
the plebeian aediles and tribunes of 
the people. 6. Ordinarii, who held 
office for a fixed period, as the con- 
suls for one year. 7. Extraoi'dinarii, 
who were only appointed upon parti- 
cular occasions, and for an uncertain 
period, like the dictator. 

MAJU'MA. A Maying, or di- 
version enjoyed by the inhabitants of 
Rome during the month of May ; 
upon which occasion they descended 
the Tiber to the sea-board at Ostia, 
and amused themselves by bathing in 
the sea. (Suidas.) Though the name 
is not met with until a late period, 
it is probable that the practice it de- 
signates was by no means a modern 
one, for it is then spoken of as the 
revival of an old custom, which had 
been abolished by law in consequence 
of the excesses it gave rise to. Impp. 
Arcad. et Honor. Cod. Theodos. 15. 

6. 1 and 2. 

MALLEA'TOR. One who beats 
out or condenses any thing with a 



MALLEATUS. 



MA 7. US. 



40 5 



mallet (malleus), like a gold-beater, 
book-binder, striker of a die in coin- 
ing, &c. Mart. xii. 57. Inscript. ap. 
Grut. 1070. 1. 

MALLEATUS. Beaten with a 
mallet, for the purpose of compres- 
sion, extension, &c. ; as, of books 
(Ulp. Dig. 32. 50.) ; Spanish broom 
{spar turn, Columell. xii. 19. 4. 

MALL'EOLUS [afvpior). Dimi- 
nutive of Malleus. Cels. viii. 3. 

2. A missile employed for firing 
the works, shipping, or military en- 
gines of an enemy. It consisted of a 
reed shaft, fitted at the top with a 
frame of wire-work, like the head of 
a distaff (see the illustration s. Co- 
LUS), which was filled with inflam- 
mable materials, such as tow steeped 
in pitch, and had an arrow head 
affixed to the top, so that the whole 
figure resembled a mallet, as shown 
by the subsequent figures. It was 
set alight before being discharged, 
and when it reached the object 
against which it was directed, the 
arrow head stuck firmly into it, while 
the tow blazed away, and ignited 
whatever it had fastened upon. Liv. 
xxxviii. 6. xlii. 64. Cic. Cat. i. 13. 
Vitruv. x. 16. 9. Veg. Mil. iv. 18. 
Ammian. xxiii. 4. 14. 

MALLEUS. {<j<pvpct). A mallet; 
i. e., a hammer with a large wooden 

head, employed by gr^jH^ ^-D 

gold-beaters, book- ft_^0 



binders, &c, for beat- 
ing out. into fine plates I 
or leaves (Plin. H. N. 
xvi. 84. xiii. 26.) ; by ^ 
carpenters, shipwrights, masons, &c, 
for driving the chisel when the blows 
require to be fine and tempered 
(Plant. Merc. ii. 3. 57.) ; as a beetle 
for beating out hemp (Plin. H. N. 
xix. 13.) ; or, in short, for any pur- 
pose to which the same object is 
applied at the present day. Both 
the examples annexed are copied 
from the tomb-stones of Roman 
artizans. 

2. A large wooden mallet used by 
butchers, and by the Popa at a sacri- 



fice, for knocking down the ox before 
its throat was pierced by the knife 
of the cultrarius. (Ov. Met. ii. 625. 
Suet. Cal. 32.) The example is 
copied from a small structure at 




Rome, erected by the Silversmiths' 
Company as a compliment| to Sep- 
timius Severus, on which it appears 
amongst various other implements of 
sacrifice. 

3. A large mallet used by smiths 
at the anvil, the head of which was 



either formed entirely of iron, or of 
wood bound with iron, as in the an- 
nexed example, which represents the 
mallet used by one of the smiths de- 
lineated at p. 283, from a Roman 
bas-relief, upon a larger scale. Plin. 
H. N. xxxiv. 20. lb. 41. 

MALLUV'IA and MALLU- 
VIUM (xtipoi nrrpov). A wash-hand 
basin {quasi manu-ht- 
via, Festus, s. v. ). The 
illustration represents a 
basin upon its stand, 
with the towel beside it, 
altogether very similar 
to a piece of modern 
furniture, from the cele- 
brated Roman fresco 
painting in the Vatican, which goes 
by the name of the Aldobrandini 
marriage. 

MALUS (lttoc). A ship's mast, 
mostly made of fir and of a single 
pole. Plin. H. N. xvi. 76. Ordi- 
nary sized vessels carried but one 
mast (woodcuts, pp. 9. 147.) ; the 
larger kinds, especially merchantmen, 
had two, of the same height, as in the 
example annexed to this article, from a 
medal of Commodus, or one consider- 
ably smaller and made to rake, as in the 




406 



31 ALUS. 



MAMPHULA. 



specimen at p. 247. ; and an en- 
graved gem of the Stosch collection 




appears to afford an instance of three 
masts. Wink. Pierres gravees, p. 
531. No. 41. 

2. A mast, or strong wooden pole 
affixed to the top of the outer wall of 
a theatre or amphitheatre, from which 
an awning (velarium) was strained 
over the entire opening of the cavea, 
to shield the spectators from the sun 
and weather. (Lucret. vi. no.) 
The illustration represents the top 
courses of the external wall of the 
great theatre at Pompeii, which is 
furnished with large stone rings to 
receive the masts in the manner here 
exhibited; in the Flavian amphi- 




theatre at Rome, a more deco- 
rated building, consoles which were 
employed for the same purpose, 
still remain, and are situated in the 
same manner as the rings here shown. 

3. The upright pillar in a clothes' 
or wine press ( pressorium, torcular), 



which is worked by 
means of a worm and 
screw (Plin. H. N. 
xviii. 74. ), as shown 
by the annexed engra- 
ving, representing the 
press employed in 
the fullers' establish- 



_L_1. 



ment at Pompeii, from a painting 
still remaining on a pilaster within 
the premises. 

MAMILLA'RE (a7ro«W//oe). A 
bosom band ; made of soft leather 
(Mart. xiv. 66.), and intended to 
elevate or confine the bust when in- 




clined to excessive development. It 
is not to be regarded as precisely 
similar to the modern stays ; for it 
was not intended to compress the 
figure into an unnatural appearance 
of slimness, nor was it worn by every 
female, but only where the extreme 
fulness of the person rendered such 
a restraint necessary. It is very ap- 
parent in the annexed illustration, 
from a Pompeian painting believed 
to represent Sophonisba ; it is worn 
under the tunic and next the skin, 
while the ample bust of the African 
beauty, pointedly expressed by the 
artist, indicates at once the necessity 
for it, and its use. 

MAMPHU'LA. A bread cake, 
amongst the Hebrews, Syrians, and 
other Oriental races, of the following 
description. When a batch of bread 
was made in the household, a piece 
of the dough was made into a cake, 
and baked under the ashes (Festus, 
s. v.), in order to be presented as 
an offering to the priest. This 
was called mamphula in the Syrian 
language, whence the word, and 
probably the custom itself, was 
adopted by the ancient Romans. 
(Lucil. Sat p. 83. 15. Gerlach.) In 



MAXDRA. 



MA NES. 



our own times it is a common prac- 
tice to make a piece of the dough at 
a baking into a cake, and bake it in 
the ashes for the children. 

MANDRA (navdpa). Properly, 
an enclosure for cattle, a fold, stall, 
or pen ; whence the word is trans- 
ferred to the animab themselves, and 
more especially to a crowd of carts 
with their cattle and drivers, forming 
a stoppage in a public thoroughfare. 
Juv. iii. 237. Mart. v. 22. 

2. A division or space marked out 
by lines, on which the pieces moved, 
in a draught board {tabula latriincn- 
laria, Mart. vii. 72. Auct. Pan. in 
Pis. 190.). The first notion of the 
word implies that the mandra was a 
square enclosure, like a sheepfold, 
similar in some degree to those by 
which our draught and chess boards 
are divided ; and that it was not 
formed by parallel lines {duodecim 
scripta), like the backgammon board 
(see the illustration s. Abacus, 2.) ; 
but as all the works which represent 
persons playing at this game have 
the board only presented in profile, 
and no original has been discovered, 
it is impossible to speak decisively 
respecting the manner in which its 
surface was marked out. 

MANDU'CUS. A grotesque 
kind of masked character, with an 
enormous mouth, set full of teeth, 
introduced in early times in the 




Atellane plays, and on rustic thea- 
tres, For the purpose of exciting mer- 
riment by his ugliness and voracious 
propensities, which gave rise to the 
name. (Festus. s. v. Plaut. Rud. ii. 
6. 51.) The illustration is from an 
original of bronze, in which the 
teeth are inserted of silver. I 



MAXES. The shades of the de- 
parted. The ancients themselves 
seem to have attached a vague and 
indefinite notion to this term, so that 
it is not easy to arrive at its real and 
distinct meaning. The following, 
however, appears to afford the most 
satisfactory result. It was believed 
that the souls of men, upon the disso- 
lution of the body, were converted 
into spirits, which still continued to 
exercise an influence over their de- 
scendants ; some into good spirits, 
who were termed lares, others into 
bad ones, who were called larvcc. 
But as the survivors could not know 
which of these two conditions had 
been allotted to the souls of their de- 
ceased relatives, they made use of 
the word manes as an indeterminate 
expression, which did not define 
either condition, while it would in- 
clude both ; though their supersti- 
tious dislike to any thing of evil 
sound and omen led them generally 
to attach the most favourable idea to 
the term. Hence, in the great ma- 
jority of cases, it is used in reference 
to good spirits, who were supposed 
to reside in the lower world, and al- 
lowed to return three times a year 
upon earth, to visit their descendants 
in the forms they bore whilst alive. 
Thus the spirit of Anchises, when he 
meets ^Eneas in the lower regions, 
is represented in the Vatican Virgil 
as draped in the costume of his 
country ; and Hector, in the same 
work, when he appears to /Eneas on 
earth, is attired in the same way, 
with the words Hectoris manes written 
over the figure. In this case, as well 
as others, the name is given to the 
spirit of an individual person ; it is 
also used to designate the regions 
below, where the manes resided, who 
were likewise regarded in the light 
of inferior deities ; whence they are 
commonly styled on sepulchral in- 
scriptions Dn Manes. ApuL Deo 
Socrat. p. 6S9. Augustin. C. D. ix. 
II. Compare Serv. ad Virg. 
iii. 63. Festus, s. v. and Isidor. 



4o8 



MANGO, 



MANIC A. 



Virg. jEn. iv. 



Qrig. viii. II. 100. 
427. Georg. I. 243. 

MANGO. A slave-dealer (Mart, 
i. 59.), more especially one who en- 
deavours to increase the personal at- 
tractions of young people exposed 
for sale by artificial devices, such as 
high-feeding, rouge, cosmetics, &c, 
in order to increase their value, and 
give them a semblance of properties 
which in reality they did not possess. 
(Quint, ii. 15. 95. Pliri. H. N. xxiv. 
22.) Hence the word is transferred 
in a more general sense to a second- 
hand dealei-, or furbisher up of fic- 
titious and old articles. Plin. H. N. 
xxxvii. 76. of dealers in jewellery. 

MA'NIA. A bugbear; any 
great ugly person which nurses in- 
vent to frighten children. Festus, 
s . v. Arnob, 6. fin, 

M AN' ICA ixtiplc). A long 
sleeve reaching down to the wrist, 
more especially characteristic of fo- 
reign nations, both of the East and 
North ; but regarded by the Greeks 
and Romans of the virtuous ages as 
a mark of ex- 
treme effemi- 
nacy ; though 
at a later era, it 
was commonly 
added to the 
tunics of both 
sexes. (Virg. 
^En. ix. 616. 
Tac. Germ. 17.) 
The example re- 
presents a figure 
in the Niobe 
group, supposed 
to be the chil- 
dren's attendant 
{pedagogics) ; consequently, a slave 
and foreigner, as the style implies ; 
probably from Asia Minor. 

2. An armlet, or piece of armour, 
which some of the Roman gladiators 
wore upon the right arm, from the 
shoulder to the wrist, like a sleeve 
(Juv. vi. 256.), as represented by 
the illustration, from a bas- 
relief in the street of the tombs at 




appearance indi- 





Pompeii. The 
dicates that it 
was either made 
by a bandage 
{fascia) or of 
straps of lea- 
ther, or plates 
of metal, so 
commonly worn 
by the legion- 
ary soldiers on 
the columns 
and arches ; 
See Lorica, 
7- 

3. A sheath, or armlet, worn by 
archers on the left arm between the 
elbow and wrist, 
as in the an- 
nexed example, 
from the column 
of Trajan ; that 
part being par- 
ticularly exposed, and the nature of 
their arms not permitting the use of a 
shield. Veg. Mil. 1 . 20. 

4. (xti pic)- A glove or mitten for 
the hand only ; made of leather or 
fur (Pallad. i. 43. 4.), and worn by 
the Persians and some northern na- 
tions more generally than either by 
Greeks or Romans, amongst whom 
the use of such a protection was con- 
fined to huntsmen and agricultural 
labourers (Horn. Od. xxiv. 230.) or 
to delicate persons (Cic. Phil. xi. 
11.), whose hands suffered from the 
cold. (Plin. Ep. hi. 5. 15.) Xeno- 
phon makes a clear distinction be- 
tween the two words xnp'ic and 5a/c- 
TvXrjOpa {Cyr. viii. 8. 17.), which 
answer to the Latin manica and digi- 
tale ; though both are applied to ob- 
jects which enveloped the hand ; 
whence it may be inferred that the 
manica was made without finger- 
stalls, like the gloves of our hedgers, 
and the other with fingers like the 
example s. Digitale. 

5. (tcap7r6Sfniin). A manacle, as 
contradistinguished from compes, a 
fetter. (Virg. JEn. ii. 146. Hor. 
Ep. i. 16. 76. Lucian. Lex. 10.) 



MA NIC A TUS. 
The illustration is from a Roman 




bas-relief. 

6. A grappling-iron, used in naval 
warfare (Lucan. iii. 565.), and, as 
the name implies, formed in imitation 
of the fingers in the human hand. 
Similar in general character to the 
mamis ferrea and Harpago, where 
an illustration is given. 

MANICA'TUS. Furnished with 
long sleeves ; applied to tunics. 
(Cic. Cat. ii. 10.) 'See Manica, i. 

2. Columeil. i. 8. 9. xi. 1. 21. 
See Manica, 4. 

MANIC U LA or MANIB'ULA. 
A cross bar on the top of the stiva, 
or handle of a plough, which the 




ploughman held in his hands to faci- 
litate the operation of pressing the 
share into the soil, as exhibited in 
the annexed woodcut, from an Etrus- 
can example. Yarro, L. L. v. 135. 

MANIP'ULUS and MANIP'- 
LUS (Spay/da, aim\\a, oCXoc). Liter- 
ally, a handful of anything, but 
especially the number of stalks 
which the reaper takes in his left 
hand when cutting the corn ; and 
as these were subsequently bound 
together into shocks or sheaves, 



. MANS JONES. 409 

in the same manner as now prac- 
tised, the word is also ( ,\|!| 10 
used to designate a nluiW'ik'lli 
bundle of corn, straw, \\M$iZZ 
or more commonly '^IsMmj^IPi^ ' 
hay, which the an- v^^^^^ 
cient farmers tied up "t^TI^M 
into bundles before Jferwfli 
it was carried. (Plin, Wm \\Wk 
H. N. xviii. 72. Ov. Jj| |J1B| 
Rented. 191. Varro, fn In'lOT 
R.R. i. 49. 1. Coin- "' '' > B 
mell. ii. 18. 2. xi. 2. 40.) The sheaf 
of wheat in the illustration is copied 
from a device upon a terra-cotta 
lamp. 

2. The standard, or ensign of a 
company of soldiers ; in the earlier 
periods of Roman his- 
tory said to have been yl 
a wisp or handful of ' % 
hay fixed to a pole, M 
and carried before the M 
men ; a record of 
which was preserved 
in after times by the » 
figure of a human hand placed on 
the top of the standard, as in the an- 
nexed example, from the Column of 
Trajan. Ov. Fast. iii. 115 — 118. 
Serv. ad Virg. JEn. xi. 870. Aurel. 
Yict. dc Orig. P. R. 22. 

3. {airtlpa, Polyb.) Also a maniple 
of foot soldiers ; that is, the number 
of men who followed one standard. 
A* maniple of principes, hastati, or ve- 
lites consisted of 120, but of the triarii 
only 60 ; and four maniples formed a 
cohort {cohors). (Caes. Tac. Virg. &c.) 
In a few cases, also used for a troop of 
horse ; but that is contrary to the 
strict sense. Sil. Ital. iv. 316. 

MAN'NULUS (Plin. Ep. iv. 2. 
3). Diminutive of 

M ANNUS. A galloway ; a small 
horse of Gallic blo< d, but very fast 
paces, much esteemed by the Romans 
for its fleetness in harness Lucret. 

iii. 1076. Hor. Epod. iv. 14. Prop. 

iv. 8. 15. Pet. Sat. 45. 7. Isidor. 
Oiig. xii. 1. 55* 

MANSIO'NES {araOnoi). Sta- 
t'ons j or .resting places distributed at 



MA NS UE TA RI US. 



MANUBRIUM. 



certain distances along the high 
roads ; more particularly intended to 
afford quarters for troops, hut also 
containing houses for the accommo- 
dation of travellers, where they could 
bait their cattle and obtain refresh- 
ment ; whence the distance from one 
place to another is sometimes indi- 
cated by reckoning the number of 
mansiones which intervened between 
them. Suet. Tit. 10. Lamprid. Alex. 
Sev. 45. 

2. Mansiones cameloriun. In the 
East, stations furnished with wells, 
at which the camels stopped to water. 
Plin. //. N. xii. 32. 

MANSUETA'RIUS (nflaroevnfc). 
A tamer of wild animals ; who not 
only rendered them tractable and 
docile, but also taught them to per- 
form certain exercises and tricks. 
(Lamprid. Elag. 2i". Compare Senec. 




Ep. 85.) The example, from an en- 
graved gem, shows one of these men 
training or showing off a learned 
bear. His right arm, which flou- 
rishes a whip, is quite bare ; but the 
left one, from which two pieces of 
meat are extended, as well as the 
beily, is protected with a sleeve and 
girth, composed of rings of metal or 
leather. 

MANTE'LE, MANTI'LE, and 
MANTE'LIUM [xtipofiaKxpov, tKjxa- 
yuov). Originally, a napkin or towel 
for the mouth and hands at meals, in 



which sense it would be synonymous, 
or nearly so, with Mappa ; but at a 
later period, when it became custom- 
ary to lay a cloth over the dinner 
table, the same name was also used 
to designate a table-cloth. In other 
respects it may be collected from 
the passages cited below, that the 
mantele was of a larger, rougher, and 
coarser description than the mappa, 
and that it was furnished by the host 
to his guests ; a single one, perhaps, 
serving for all of them ; whereas it 
was the custom for each individual 
to bring his own mappa with him. 
Varro, L. L. vi. 85. Serv. ad Virg. 
Georg. iv. 377. Mart. xii. 29. 12. 
xiv. 138. Isidor. Orig. xix. 26. 6. 

MANTEL'LUM or MANTE'- 
LUM. That which serves as a 
cloak to conceal anything ; the ori- 
ginal of the Italian mantello, and our 
mantle. Plaut. Capt. iii. 3. 6. 

MAN'TICA. A double wallet, 
employed as a knapsack for pedestri- 
ans (Apul. Met. p. 14.), or a saddlebag 
on horseback. (Hor. Sat. i. 6. 104.) 
It consisted of two bags joined toge- 
ther, and when carried by foot pas- 
sengers, was slung over the shoulder 
so that one bag hung in front, the 
other behind the bearer (Phsedr. iv. 
9, Catull. xxii. 21. Pers. 4. 23.) ; 
on horseback , it was placed behind 
the rider, and across the animal's 
loins. Hor. /. c. 

MANTIC'ULA. Diminutive of 
the preceding. 

MAN U ALE. A small wooden 
case, or binding for a book (libellus), 
which prevented the margins of the 
leaves from getting rubbed or dog's- 
eared by the dress of the person who 
carried it about with him. Mart, 
xiv. 84. 

MANUBALLI'STA. A hand 
ballista ; probably similar to the 
modern cross-bozv. Veg. Mil. ii. 15. 
iv. 22. 

MANUBALLISTA'RIUS. One 
who uses a manuballista. Veg. Mil. 
iii. 14. iv. 21. 

MANUBRIUM. That by which 



MANUCLA. 



MAPPA. 



411 



anything is held in the hand ; a 
general term for any kind of handle : 
of a jug or other vessel (Cic. Verr. ii. 
4. 27. Ansa i.) ; of a knife (Juv. 
xi. 133. Capulus 1. Culter); of 
agricultural implements (Columell. 
xi. 2. 92., and the list of them col- 
lected in the Classed Index) ; the 
spigot of a water-cock. Vitruv. x. 
8. 3. Assis 2. and Epistomium. 

MANUCLA and MANUC'ULA. 
See Manulea. 

MANUCULATUS. See Manu- 

LEATUS. 

MANUL/EA. A long sleeve, cov- 
ering the arm down to the wrist and 
hand. Front, ad. M. Cces. Ep. iv. 3. 
ed. A. Maio. Same as Manica i. 

2. A piece of defensive armour for 
the arm (Accius ap. Non. s. Balteus, 
p. 194 ). Same as Manica 2. 

3. A particular part of the military 
engine called Catapulta ; viz. that 
which held the cord in tension. Vi- 
truv. x. 10. 

MANULEA'RIUS. One who 
makes manulea, or garments with long 
sleeves. Plaut. Aul. iii. 5. 37. 

MANULEATUS. Furnished 
with, or wearing long sleeves. Plaut. 
Ps. ii. 4. 48. Suet. Cal. 52. Senec. 
Ep. 33. Same as Manicatus. 

MANUS FERREA { X up oidtwa). 
The iron-hand ; a sort of grappling- 
iron, used especially in the navy for 
seizing hold upon the rigging or hull 
of another vessel, so as to lock the 
two together while one of the crews 
attempted to hoard. (Liv. xxvi. 39. 
xxxvi. 44. xxxvii. 30. Frontin. Strat. 
ii. 3. 24. Lucan. iii. 635.) This con- 
trivance is sometimes confounded with 
the Harpago (Curt. iv. 2. 12.) ; 
but the two are distinctly mentioned 
as separate objects by Caesar {B.C. i. 
57.), and by Pliny (H. N. vii. 57.), 
who ascribes the invention of the 
manus to Pericles, and of the harpago 
to Anacharsis. One, and perhaps 
the principal, point of difference con- 
sisted in this, that the manus was 
fastened to a chain, and discharged as 
a missile from an engine ; so that it 




grappled a vessel at a certain distance, 
and took it in tow ; or, when drawn 
in, brought it close up alongside 
(Curt. iv. 3. Lucan. iii. 375. Scheffer, 
Mil. Nav. ii. 7.) ; whereas the har- 
pago was affixed to a long shaft or 
pole (asser), Liv. xxx. 10. 

MAPA'LIA. See Magalia. 

MAPPA. A table-napkin (Hor. 
Sat. ii. 8. 63.) ; which the Romans 
used for wiping the 
hands and mouth at 
meals, and vulgar peo- 
ple fastened under 
their chins to protect 
their clothes from 
stains, as some do in 
our days. (Pet. Sat. 
32. 2.) In ordinary 
cases the host did not 
furnish his guests with napkins ; but 
each person brought his own mappa 
with him (Mart. xii. 29. II.) ; and 
occasionally carried away in it some 
of the delicacies which he could not 
consume at table (Mart. ii. 37. vii. 
20 ) ; a practice not uncommon in 
modern Italy. The example is copied 
from a painting at Pompeii, of the 
kind called Xenia, in which it is 
represented hanging upon a peg 
amongst a variety of eatables and table 
utensils. 

2. A cloth or napkin which was 
thrown down as a signal for the races 
to commence at 
the Circensian 
and other games 
by the magis- 
trate who fur- 
nished the show. 
(Suet. Nero, 22. 
Mart. xii. 29. 9. 
Juv. xi. 191.) 
The origin of 
this practice appears to have been of 
very great antiquity, since it is attri- 
buted to the Phoenicians (Quint, i. 
5. 57.) ; though, in after times, a 
story gained currency which made 
Nero its author, who was reported, 
upon some occasion, to have taken up 
a napkin from the table where he 




412 



MARCULUS. 



MARTIOLUS. 



was dining in the golden house 
which overlooked the Circus Maxi- 
mus, and thrown it down as a signal, 
when the populace in the circus 
below were becoming impatient for 
the races to begin. (Cassiodor. Vai: 
Ep, iii. 51.) The illustration, which 
shows a magistrate in the act of 
raising the mappa, is taken from a 
representation of a chariot race, on a 
Roman bas-relief. 

MAR'CULUS. Diminutive of 
Marcus. A smith's hammer (Mart. 




xii. 57. 6. Plin. H. N. vii. 57. Isidor. 
Orig. xix. 7. 2.) ; and as the word 
is a diminutive, it will represent one 
of the smaller kinds, used with one 
hand, as by the annexed figiu-e from 
a sepulchral urn, and by one of the 
smiths at p. 288. 

MARCUS. A lanje iron-headed 




hammer, used by smiths, such as we 
call a jWw-hammer (Isidor. Qrig 



xix. 7. 2.) ; as shown by the example 
from the Vatican Virgil, and used by 
one of the smiths at p. 288. 

MARRA. A sort of hoe with a 
broad head {lata, Columell. x. 70.), 
indented with teeth (Id. x. 88.), 
which was employed in gardening 
and husbandry, for tearing up and 
clearing away weeds and fibrous 
encumbrances from the ground, &c. 
(Plin. H.N. xvii. 35. §4. Juv. xv. 
166. Columell. //. cc.) The example 
shows the head of an instrument 
corresponding with the above descrip- 
tion, which was found in the tomb of 




one of the Christian martyrs at Rome, 
with which it is supposed that he may 
probably have been tortured. 

MARSU'PIUM Qmpnvmov). A 
purse, for money (Varro, ap. 
Non. s. v. p. 141. Id. R.R. 




26.) ; often represented in 
works of art in the hands of 
Mercury, the god of gain, and more 
or less ornamented with tassels, &c. 
The example is from a Pompeian 
painting. 

MARTIOBAR'BULUS. A word 
of doubtful authority which occurs in 
Vegetius {Mil. i. 17.); where, if the 
reading be correct, it may designate a 
soldier armed with leaden bullets 
{glandts) for discharging from a sling. 

MARTIOLUS. Diminutive of 
Marculus. A common 
hammerol the smallest kind; 
such as used by carpenters 
for driving nails, or ham- 
mering and beating out 
anything which does not require 
extraordinary force or labour ; like 
the delicate works in metal, called 
Ipya a<pvprt\ara by the Greeks. (Pet. 
Sat. 51. 4.) The example is repre- 



MAR TUL US. 



MA TERIA TIO. 



413 



sented on the sepulchral stone of a 
Roman mechanic. 

MAR'TULUS. (Plin. H.N. vLL 
57-) Same as Marculus. The Ita- 
lian " martelloP 

MASTI'GIA (fjtnn-fycac). Pro- 
perly a Greek expression of reproach, 
meaning a good-for-nothing fellow, 
who deserves to be flogged (Plant. 
Cure. iv. 4. 11. Terent. Ad. v. 2. 6.) ; 
equivalent to the Latin verbero. 

2. Hence a whip (/jfiant). Sulp. 
Sev. Dial. ii. 3. 

MASTIGOPH'ORUS {,iaariyo- 
0opoc). A term borrowed from the 
Greeks, amongst whom it signifies 
something like a slave driver (Thucyd. 
iv. 47.) ; but the Romans, and per- 
haps the Greeks also, gave the same 
name to an officer who bore a near 
resemblance to our policeman, and 
clerk of the course on a race-ground, 
whose duty it was to repress disorderly 
conduct at public places and popular 
festivals, keep off the populace, and 
prevent crowding or tumult, for which 
purpose he was provided with a whip 
(ud<7Ti%), whence the name arose. 
Arcad. Dig. 50. 4. 18. Prud. adv. 
Svmm. ii. 516. 

MASTRU'CA and M AS- 
TRU'GA. A word of foreign ori- 
gin, probably Phoenician, which de- 
signates a coarse and common kind 
of covering made of the skins of wild 
animals Tsidor. 
Orig. xix. 23. 
5.). more espe- 
cially peculiar 
to the peasantry 
and common 
people of Sardi- 
nia (Cic. Fragm. 
pro Scaler, ap. 
Isidcr. I.e. Quint, 
i. 5. 8.), and of 
Carthage (Plant. 
Pcen. v. 5. 33.) ; 
both of which 

were Phoenician colonies. Its form 
and character is doubtless shown in 
the annexed figure, from a mosaic 
found at Palestrina. representing the 




rape of Europa, in which the artist 
skilfully announces the country of his 
heroine, and the locality where the 
scene took place, by the introduction 
of a rustic figure in the mastruca, 
expressing by his attitude and gestures 
the greatest alarm at the strange 
abduction of his young mistress. 

MASTRUCATUS. Wearing the 
mastruca, as shown by the preceding 
woodcut. Cic. Prov. Cons. 7. of Sar- 
dinians. 

MAT'ARA and M ATARI S. 
See Materis. 

MATAX'A. See Metaxa. 
MATEL'LA. Diminutive of Ma- 
TULA. Varro, ap. Non. s. v. p. 543^ 
Mart. xii. 32. 13. 

MA TELL' 10. Diminutive of 
Matula. Varro, L. L. v. 119. Id. 

i ap. Non. s. Trnllium, p. 547. Cic 
Par. v. 2. 

MATERIARIUS. A timber. 

I merchant. Plaut. Mil. iii. 3. 45. 

2. A worker in wood, such as a 

i carpenter, shipwright, &c. Inscript. 

I ap. Grut. 642. 4. 

MATERLVTIO. A collective 
term, including all the timber-work 

I employed in the construction of a 
roof (Vitruv. iv. 2. I.) ; arranged by 
the ancient architects in the manner 
exhibited by the diagram on the next 
page, which represents a timber roof in 
elevation and section, from Gwilt's En- 
cyclopedia of Architectm"e. It was dis- 
tributed into the following component 
parts : aa. trabes, the beams which 
formed the architraves, supported 
upon columns and pilasters ; bb. colu- 
men, the ridge-piece which forms the 
culminating point : c. cohimna, the 
king-post, which supports the central 
apex ; dd. tigna, the tie-beams which 
extend transversely from side to side 
of the building, and across the archi- 
traves on which they rest; e. capreolus, 
the strut, placed diagonally between 
the king-post and rafter, the»centre of 
which it supports ; ff. canteiii, the 
principal rafters of the roof, which 
form a bed for the purlines to rest 
upon ; tenipla, the purlines, 



414 



MA TERIA TVS. 



MAUSOLEUM. 



which lie transversely over the rafters, | ters ; hh. asseres, the common rafters, 
and form a bed for the common raf- | over which the tiles are placed. 




MATER I AT US. Built or con- 
structed of wood- work. Vitruv. iv. 2. 

MAT'ERIS. A Celtic word, de- 
noting a particular kind of javelin em- 
ployed by the Belgse (Strabo, iv. 4. 3.), 
which had a broader head than usual 
(Hesych.) ; but respecting which no- 
thing furtheris known. Li v. vii. 24. Coes. 
B. G. i. 26. Sisenn. at). Non. j.z/.p. 556. 

MATRIMO'NIUM. Matrimony, 
which amongst the Romans was con- 
tracted in three ways : by use {tcsus), 
when a man lived with a woman for a 
year; by C3ntract {coe?nptio)> in which 
the parties went through a mock cere- 
mony of mutually selling themselves 
to one another ; and by a religious 
solemnity, termed confarreatio, under 
which term the rites are explained. 

MATT A {4/iaOov). A mat made 
of rushes. Ov. Fast. vi. 679. 

MATTA'RIUS. One who sleeps 
upon a mat, or on a coarse mattress 
no better than a mat. August, contra 
Faust, v. 5, 

M ATT'E A or MATTY A {fiarrOa). 
A general name given to any choice 
and delicate food, especially poultry 
and game, which we might term 
dainties. Pet. Sat. 65. 1. Ib. 74. 6. 
Mart, xiii. 92. 

M AT'U LA( a f x'u;navTi'\ tj). This word 
like its diminutive, is the one usually 
employed to designate a chamber uten- 
sil (Plaut. Most. ii. 1. 39. Ulp. Dig. 
34. 2. 25. § 10. and the authorities 



cited s. Matella and Matellio) ; 
though they were all likewise referred 
to any kind of vessel for holding water. 

MAUSOLE'UM. The sepulchre 
of Mausolus, king of Caria, Avhicn 
from the beauty and magnificence of 
its structure passed for one of the 
wonders of the world (Plin. H.N. 
xxxvi. 4. § 9. ) ; hence the word was 
adopted by the Romans as a name for 
any sepulchre of extraordinary magni- 
ficence, especially .of kings and em- 
perors, like that of Augustus in the 
Campus Martius ; and of Hadrian on 
the opposite bank of the Tiber. 
(Floras, iv. 11. 10. Suet. Aug. 100. 
Vesp. 23. Mart. v. 64.) Considerable 
remains of both these edifices are still 
in existence ; the first being now used 




as a ring for bull baiting ; the latter 
as a fortress, which goes by the name 
of the Castle St. Angelo. Both, 
however, are entirely deprived of their 



MA VOR TE. 



MEDIC US. 



external ornaments : but the annexed 
woodcut represents the mausoleum of 
Hadrian, as it appeared in its original 
state, before the statues and columns 
which decorated it were destroyed 
during the siege of Rome by ihe Goths 
under Vitiges, The restoration is by 
the Venetian architect Labacco (Libro 
delP Architettura, Roma, 1558), from 
remaining vestiges, representations on 
medals, and the description of Proco- 
pius. It will convey a just idea of 
the former magnificence of the se- 
pulchre and may be regarded as an 
accurate design, with the exception 
that there should be a statue of 
Hadrian on the top, instead of the fir 
cone, which is erroneously placed 
there. 

MAVOR'TE or MAVOR'TIUM. 
A term introduced at a late period, 
or used by the common people, in- 
stead of RICINIUM, which see. 
Serv. ad Virg. SEn. i. 282. Isidor. 
Ori<r. xix. 25. 

M AZON'OM U M. ( uaHovofiiiov, 
fiaZ<iv,')fiac). Properly an article of 
Greek domestic use ; viz. a round 
wooden trencher upon which barley 
cakes were served up (Hesych. Com- 
pare Harmod. ap. Athen. iv. 31.) ; 
whence the name was transferred 
to a large salver of bronze or gold, 
upon which burning incense and 
other perfumes were carried by young 
boys in the religious ceremonies of 
Bacchus (Calix ap. Athen. v. 27.), 
as shown by the annexed example, 




from a bas-relief of the Pio-Clementine 
Museum. 

2. The Romans also adopted the 



name, but used it in a somewhat dif- 
ferent meaning ; for a dish of very 
large dimensions ^^-^ 
(sub iniquo pon- -. . '^j^, 

Nemes. Fragm. ^^^m. — L 1 .. 
de Aucup. i. 17.), in which game pies 
were served up (Hor. Sat. ii. 8. 86. 
Schol. Vet. ad I. Varro, R.R. iii. 4. 
3. ), like the annexed example from an 
ancient fresco discovered near the 
church of St. John of Lateran, at Rome. 
It represents a number of slaves, each 
of whom brings in a different dish at 
a feast ; the pastry is painted yellow : 
and a bas-relief of the Pio-Clementine 
Museum (v. 14.) exhibits a dish 
with a pastry crust, of precisely the 
same character presented by an at- 
tendant to Hercules, who is reclining 
at his meal. 

MEDIASTI'NI. A class of slaves 
whose distinctive services and condi- 
tion are not fully ascertained. They 
appear, however, to have been the 
lowest in point of rank, performing 
the commonest drudgery both in 
agricultural employments and house- 
I hold work. Columell. i. 9. 3. ii. 13. 
7. Dig. 7. 7. 6. Aero ad Hor. Ep. i. 
14. 14. Non. s.v. p. 143. 

MEDIC AMEN TA'RII. Dealers 
in herbs and prepared medicines 
(Plin. H.N', xix. 33.) ; perhaps quack 
nostrums, or something worse, for 
these men were certainly held in little 
repute, and the Theodosian poisoners 
of both sexes are designated by the 
same name. Cod. Theodos. 3. 16. 

MEDTCUS (iarpm). A medicac 
man, like our word ''doctor,'' or 
"general practitioner," applied to 
those who practise both branches of 
the healing art, surgery as well as 
medicine. (Plaut. Men. v. 3. 6. Cic. 
Chient. 21. Plin. H. N. xxix. 6. Suet. 
Cal. S. Nero. 2.) From these pas- 
sages we also learn that generally the 
medicus of Rome was a foreigner, 
who gained a livelihood by attending 
all persons choosing to employ him ; 
or a slave kept by wealthy indivi- 
duals as apothecary to the house- 



4 1 6 MEDIMNUS. 



MENS A. 



hold, whose services were not acces- 
sible to the public. 

2. The same title was also given to 
veterinaries and cattle doctors ; a 
class of professionals who divided 
themselves into many branches, each 
confining itself to studying the dis- 
eases of a separate race of animals, 
after which the practitioner took his 
characteristic appellation ; as medicus 
eqitarius, mulo-medicus, medicus pe- 
concm, &c. Val. Max. ix. 15. 2. 
Veget.i. Prcef. 6. Varro, R.R. ii 7.16. 

MEDIM'NUSand MEDIM'NUM 
{utdi/uivoc). A Greek measure of ca- 
pacity ; mostly a dry measure, but 
also used for liquids ; it contained six 
Roman modii. Nepos. Att. 2. Rhemn. 
Fann. de Pond., &c, 64. 

MEDIPON'TUS. Enumerated by 
Cato amongst the necessaries of a 
wine-press, but without any further 
explanatory details ; excepting that it 
is mentioned as one of the ropes, and 
apparently of the strongest and thick- 
est description. Cato, R. R. iii. 3. 
and 12. 

ME' LIN A. A wallet or pouch 
made out of the skin of a badger 
(me/es). Plaut. Epid. i. 21. 

ME LIUM. A dog's collar, made 
of leather studded with iron-headed 
nails [clavulis capitatis, Varro, R. R. 
ii. 9. 15.) ; particularly used for 
sporting dogs as a protection to the 
throat and neck. Compare Millus, 
and the illustration there introduced. 

MEMBRA'NA {Si<pOipa). Pre- 
pared skin or parchment ; sometimes 
employed for writing books upon, 
though not of such common or 
general use as paper (charta) made of 
papyrus (Plin. H. A 7 , xiii. 21. Hor. 
Sat. ii. 3. 2.), and in the East for 
letters and royal rescripts. Nichol. 
Damasc. Hist. p. 260. Tauchnitz. 

2. A wrapper or cover made of 
parchment, dyed on the outside with 
purple or yellow colour (Tibull. iii. I. 
9. Compare Ov. Trist. I. I. 5.), in 
which a roll was enveloped, to keep 
it clean, and preserve it from injury. 
That the membra 11a was not a box or 



case like the capsa, is clear from its 
being assimilated to articles of outside 
clothing (Mart. x. 93. toga purpurea. 
Id. xi. 1. sindone). 

MEMBRA'NULA. Diminutive 
of the preceding ; a small strip of 
parchment upon which the title-pages, 
lettering-pieces, or contents of a book 
(indices ) were written. Cic. Att. iv. 4. 

MENDI'CULA, sc. vestis. A 
beggai-'s garment (Plaut. Epid. ii. 2. 
41.), as seen in the next illustration. 

MENDPCUS (irr^xk), a men- 
dicant or beggar-man, who lives upon 
charitable donations. (Plaut. Bacch. 
iii. 4. 16.) The illustration repre- 




sents a scene in the forum at Hercu- 
laneum, from a painting discovered 
in that city, in which a blind beggar, 
exactly as described by Juvenal, half- 
clad, with his ragged mat and staff (Sat. 
v, 8. ib. xiv. 134.), and led by a dog is 
receiving alms from a young female. 

2. A mendicant priest, belonging to 
the order of Cybele, who lived upon 
public alms, like the modern Capu- 
chins. Hor. Sat. i. 2. 2. 

ME'NIS (from the Greek pi\vr\). 
An ornament in the shape of a half- 
moon, which the Romans used to 
place at the commencement of their 
books ; hence a menide, from the 
beginning. Auson. Profess. 25. 

MENSA (rpcnrf%a, shortened from 
TtTpdirt^a). In the primary notion, 
a surveying board or table (from me- 
tior) ; whence it came to be applied 
in as general a sense as our word 



MENS A. 



417 



table, including every kind of form 
both round and square, though the 
square form is mostly implied when 
the word is used by itself, without 
any adjunct descriptive of the shape 
intended. The following are the 
most characteristic senses in which 
the word is employed : — 

I. Either simply, or with the epi- 
thet escaria, a dining-table. In the 
earliest times, at least amongst the 
Romans, dinner tables were square, 
and supported upon trestles, or several 
legs, according to the size of the slab, 
as exhibited by the annexed example, 




from a painting in the Vatican Virgil, 
representing the companions of Ulys- 
ses at dinner in the island of Circe. 
But after the invention of circular 
dining- tables, this form was generally 
relinquished, excepting in the soldiers' 
messroom, where it was still retained. 
Varro, L. L. v. 118. 

2. Mensa prima {Trpwrij Tpaire^o). 
The first course at dinner ; sometimes 
brought in upon a tray (ferculum J, 
which was placed upon the table ; at 
others the table itself was brought up 
already set out, and placed before the 
guests, the whole being removed to- 
gether when its contents had been 
eaten ; hence the expressions mensam 
ponere, auferre, tollere, removere, cor- 
respond with our own, "to bring 
in," and " to take away the dinner." 
Ov. Met. xi. 19. Pl au t. True. ii. 4. 
13. Cic. Pis. 27. Virg. JEn. i. 216. 

3. Mensasecunda (Stvrepa TpcnnZ,a). 
The second or last course at a meal, 
consisting of fruit, sweetmeats, and 
confectionery ; our dessert. Hor. 
Sift. ii. 2. 121. Nep. Ag. 8. Cic. Att. 
xiv. 6. and 21. Cels. i. 2. 



4. Mensa tripes. A table sup. 
ported upon three legs, as contradis- 
tinguished from mono- ^> 
podium, which had a J^mu^^ 3 
single trunk or stem. *<^2S=I^ 
Though sometimes JMrTC 
made of an ornamental v> £( Jy 
character, like the ex- jf\\ 
ample, from a Pom- A 
peian painting, the ^^"^ 
three-legged table was one of the 
commonest, as it was likewise con- 
sidered to be of the humblest kind 
in use amongst the Romans. Hor. 
Sat. i. 3. 13. Ov. Met. viii. 662. 

5. Mensa vinaria. A table for 
taking wine upon. When round, as 
in the last woodcut, which represents 
a table of this kind, with the drinking 
vessels upon it, it was termed cili- 
bantum (Varro, L. L. v. 121.) ; a 
distinction which implies that square 
ones were likewise employed for the 
same purpose. 

6. Mensa vasaria. A table in- 
tended to hold the jugs, cans, and 
other utensils (vasa) employed for 
domestic purposes. Of these, there 
were two kinds ; one for the atrium, 
and the other for the kitchen, both, 
however, square or oblong, and each 
distinguished by a characteristic name, 
Cartibulum and Urnarium, under 
which descriptions and illustrations 
are given. Varro, L. L. v. 125, 126. 

7- Mensa Delphica. A table used 
as a piece of ornamental furniture, 
explained and illustrated s. Del- 
phica. 

8. Mensa sacra. A table made of 




marble, gold, or silver, which served 
as a sort of altar, and was placed before 
2 D 



4i8 



MENS A 



MENSARII. 



the statues of the gods, with the wine 
vessels, fruits, and viands offered to 
them at the solemn feast of the lecti- 
sternium, as exhibited by the illus- 
tration, from a terra- cotta lamp. 
Festus, s. v. Cic. N. D. iii. 34. Virg. 
JEn. ii. 764. 

9. A table or stand upon which 
some tradesmen, such as greengrocers, 
poulterers, fishmongers, &c. displayed 
their commodities for sale in the 




streets and markets. (Hor. Sat. ii. 4. 
37.) The illustration represents a 
stand of this kind covered with vege- 
tables, poultry, and fish, in the forum 
at Herculaneum, from a painting dis- 
covered in that city. The owner sits 
by the side of his stand, while a 
customer presents a plate for the 
article purchased ; the jars on the 
ground also contain eatables. 

10. Mensa lanionia. A butcher's 
chopping-block ; probably similar to 
those still used by the same class of 
tradesmen. Suet. Claud. 15. 

11. Mensa argentaria. A money- 
dealer's table or counter, upon which 
he sets out the sums of money required 
for transacting his daily routine of 
business. (Donat. ad Terent. Ad. ii. 
4. 13. Compare Hor. Sat. ii. 3. 148. ) 
It is to this early practice that our 
terms "banker'' and "bankrupt" 
owe their origin, which have come to 
us through the language of the Flo- 
rentines, the principal bankers of 
Europe during the middle ages. At 
that period they used to set out their 
money, like the old Romans, upon a 



i wooden bench or bank, ' ' banco ; " 

; hence they were termed ' ' banchieri; " 
and if any of them could not meet 
his liabilities, his counter was imme- 

i diately broken to pieces, and himself 
prohibited from further continuing 
his business, whence the broken bank 

I (Italian banco rotto) gave rise to the 
name of bankrupt. 

12. Mensa publica. A public 
counter or bank ; i.e. of which the 
capital belonged to the state, derived 
from the taxes, and was disbursed for 
the public service. Cic. Fl. 19. Pis. 
36. 

13. A raised stand or platform 
upon which slaves were exposed for 
sale. (Apul. Met. viii. p. 171. ApoL 
p. 432.) Same as CATASTA. 

14. A flat square grave-stone, laid 
over the remains of the deceased ; the 
simplest kind of monument to the 
memory of the dead. (Cic. Leg. ii. 
26.) The illustration represents an 



SVAE • FECIT- 
u B.E-1VIE-. 

is 

i (is p 

» a d 
xrxxx.- SINNV-UXIA. 

aivioav vi'iai 



original found near Rome ; the hole 
in the centre was intended for pour- 
ing unguents into the grave or tomb. 

15. A long flat board or slab, 
forming one of the component parts 
of military engines (Vitruv. x. ii, 
J 6. ) ; but how it acted, or what pur- 
I pose it served, is not easily understood. 
But see the illustration s. Carrobal- 
lista. 

MENSARII. Officers appointed 
by the state upon certain occasions, 
and in times of general distress, to 
act as public bankers. They were 
authorised to advance money on be- 
half of the state to debtors who could 
produce sufficient security ; to examine 
into the debts of the poorer classes ; 
to direct issues of specie, and so forth ; 
but are not to be confounded with the 



MENSORES. 

argentarii, who were private bankers, 
negotiating their own and their 
customers' capital, though, like them, 
they had their tables or counters 
(mensce) displayed in public in the 
colonnades of the forum. Liv, xxiii. 
21. Salinas, de. Mod. Usur. p. 509. 
Budaeus de Asse, v. p. 509. 

MENSO'RES. A general name 
for persons employed in taking mea- 
surements of any kind ; as 

1. Land surveyors (Columell. vi. 
I.) ; also termed agrimensores. 

2. Surveyors who measured out 
and distributed the several sites to 
be occupied by the different divi- 
sions of tents, &c. in a Roman camp ; 
as contradistinguished from metatores, 
whose duty consisted in selecting the 
position itself, which the entire camp 
was to occupy. Veget. ii. 7. 

3. Under the empire, certain offi- 
cers who selected and marked the 
houses upon which each soldier was 
to be billeted during a march, or for a 
given period. Cod. Theodos. 7. 8. 4. 

4. Mensores ledificiorum. Build- 
ers ; i.e., persons who contracted to 
build an edifice after a specified plan 
furnished to them by an architect. 
Plin. Ep. x. 19. 5. Trajan, ad Plin. 
Ep. x. 20. 3. 

5. Mensores frumentarii. Corn 
meters ; who were employed to mea- 
sure the corn brought up the Tiber 
into the public granaries (liorrea). 
Paul. Dig. 27. I. 26. 

M EN'SUL A. Diminutive of 
Mensa. 

MENSULA'RIL A class of the 
public bankers or mensarii ; and as 
the name is formed from a diminu- 
tive, mensula, we may suppose them 
to have held a lower rank, and to 
have been of an inferior grade. They 
acted in the capacity of money chan- 
gers, providing Roman coinage for 
the foreign pieces brought into the 
country by strangers ; and also were 
appointed to examine all kinds of 
money, and decide if it was genuine 
or forged. Tac. Ann. vi. 17. Dig. 
16. 3. 7. Id. 42. 5. 24. Id. 46. 3. 39. 



MERIDIANI. 419 

MEREN'DA. One of the Roman 
meals taken early in the afternoon, 
which we might translate a luncheon ; 
in which sense the word is still re- 
tained by the inhabitants of modern 
Italy. Plaut. Most. iv. 2. 49. Cal- 
purn. Eel. v. 61., where the ninth 
hour in summer is called late for the 
merenda of rustics. 

MER'GA (tcap<f>a[iaTiov. Hesych.). 
An implement employed at harvest 
work ; but whether for reaping the 
corn, or collecting it after it was cut, 
and of what precise nature, is not 
clear. Festus (s. v.) says that it was 
a pitchfork (furcula), with which 
the labourer loaded or carried off the 
sheaves [manipulos) from the field ; 
but Plautus (Pan. v. 2. 58.) and 
Palladius (ii. 20. 3.) evidently speak 
of it as an instrument which was 
used for reaping the corn ; and 
Pliny (//. N. xviii. 72.) indicates 
that two of these were used together, 
between which the ears of corn were 
nicked off. 

MERGES. A bundle, or sheaf, of 
corn ; i. e. strictly the quantity taken 
up, or cut, by a merga. Virg. Georg. 
ii. 517. Serv. ad Virg. JEn. xi. 532. 

MERIDIA'NI. A class of light- 
armed gladiators who fought as a 
sort of interlude at midday, after the 
termination of the combats with wild 
beasts, which took place in the 
morning. (Orellh Inscript. 2587. 
Suet. Claud. 34. Senec. Ep. 7. and 
95. ) The simple tunics in which the 
annexed figures are clothed, and the 




absence of all body armour, renders 



420 



MER UM. 



MET A. 



it extremely probable that they afford 
an example of the meridiani : the 
more so as they are copied from a 
mosaic, which represents several other 
classes of gladiators in the character- 
istic suits of armour belonging to each 
class. 

MERUM [atcparov, £wpyr). Neat 
wine, unmixed with water ; rarely 
drunk in this state by the ancient in- 
habitants of Greece and Italy, except 
by regular bouse rs and drunkards ; 
the usual beverage being about two- 
thirds of water to one of wine. Mart, 
i. 12. and 57. Id. iii. ^7. 

MESAN'CULON "{/iwayKvXov). 
Properly, a Greek name, which the 
Romans expressed by hasta ansata, 
or telum ansatum. It occurs, how- 
ever, in the above form ap. Gell. x. 
25. 1. and is described and illustrated, 
at p. 83. s. Axsatus. 

MESAU'LOS (nsaav\oc). A pas- 
sage or corridor in a Greek house, 
between the two principal divisions of 
the ground-floor, the andronitis and 
gyncEconitis ; in the centre of it there 
was a door, which, when closed, shut 
off all communication between the 
two suites of apartments, (Vitruv. 
vi. 7. 5.) See the plan at p. 252. on 
which it is marked d. 

MESOC H'O RU S (neaoyooor). 
The leader or director of a band of 
musicians, both vocal and instru- 
mental ; he stood in the centre of the 
band, to give the signals and mark 
the time. Plin. Ep. ii. 14. 7. Sidon. 
Ep. i. 2. 

MESSOR (a/jir-jTrjo, depiartjc). A 
reaper of grain. Cic. Orat. *iii. 12. 
Virg. Georg . i. 316.) The most com- 
mon practice among the ancient 
reapers was to cut the stalk with a 
reaping hook (falx messoria, or stra- 
mentaria) about midway between the 
ear and the ground, as represented by 
the annexed figure from a sepulchral 
painting of the Christian era, the 
straw being afterwards cut by itself. 
But in some places, Umbria more 
especially, they cut the straw near 
the- ground, as we do, leaving only a 



I stubble behind ; and for a particular 
} kind of bearded corn, like the Egyp- 
tian, which has several ears clustered 




together on the top of a single stem, 
they nicked the heads off the top of 
the stalk, with an instrument furnished 
with teeth, like a saw (falx denticu- 
lata); an operation which is exhibited 
in an Egyptian painting published by 
'Wilkinson {Ancient Egyptians, vol.iv. 
p. 89.). Varro. R. R. i. 50. Com- 
pare Columell. ii. 20. 3. 

2. Ales so r fee msec a. A mower of 
grass with a scythe (falx foznaria ). 
Columell. ii. 17. 5. 

ME TA. Any object with a broad 
circular base, gradually tapering off to 
the top, like a cone (Li v. xxxvii. 27. 
Cic. Div. ii. 6. Plin. H. N. ii. 7.) ; 
whence the following characteristic 
applications of the term. 

I. (Kaj.L-Ti]o,vvaaa, irrt/Ai}. Soph.^/. 
720. )The goal or turning post in a race- 
course, which consisted of a group of 
three conical-shaped columns, placed 
upon a raised basement, and situated at 
the end of the barrier ( spina ), round 
which the chariots turned, each race 
comprising seven circuits round the 
course. (Prop.ii. 25, 26. Suet. Dom.\.) 
There were necessarily 
two metce, one at each 
extremity of the spina, 
marked respectively c 
and D on the ground- 
plan of a circus at 
p. 165. The one 
nearest the end from 
which the chariots 
started was called 
meta prima ; the other, at the further 




ME'IA. 



ME TITORES. 



extremity, where the first turn was 
made, meta scauida. The driver in 
turning always kept these on his left 
hand, or, as we say, on his near side, 
which a Roman called on his inner 
wheel (inter lore rota. Ov. Amor iii. 
2. 12.) ; and the great art of driving 
well consisted in getting round these 
points without taking too large a 
sweep, so as to let an antagonist cut 
in between, nor by shaving too close, 
to run the risk of an upset by coming 
into contact with the base on which 
the columns stood ; hence the writings 
of the poets abound in metaphorical 
allusions to the chances and accidents 
which here occurred (Ov. Trist. iv. 
8. 35. Hor. Oct. i. 1. 5. Cic. Cos/. 31.); 
and as the race which commenced at 
the first meta also ended there, the 
word is frequently used, like our term 
goal, for the boundary or conclusion 
of any other object or thing. (Virg. 
Ov. Stat., &c.) The illustration is 
copied from a Roman bas-relief, re- 
presenting a circus. The doorway 
under the columns gave access to a 
small chapel in which the altar of the 
god Consus was placed. Tertull. de 
Spectac. 5. 

2. The innermost or lowest of the 
two stones in a mill for grinding corn, 
(Paul. Dig. 33. 7. 18. § 5.), which was 
formed in the shape of a cone, as ex- 
hibited by the annexed example, re- 
presenting a section and elevation 
from an original found in a baker's 
shop at Pompeii. The outer one, 
called catillus ( Dig. I. c.J, it will be 




observed, is made in the shape of an 
hour-glass, the lower portion of which 



fitted on to the conical head of the 
meta, as a cap (section on left hand) ; 
and the upper part served as a hopper 
to receive the corn, which gradually 
dropped through a small orifice at its 
base, and was ground into flour 
against the heads and sides of the 
meta, by turning the outer stone round 
it. Before the discovery of the mills 
at Pompeii, by which the real form of 
a Roman mill has been ascertained, 
it was the common notion that the 
upper stone was the meta, and the 
lower one the catillus — an error which 
is still left uncorrected even in our 
best dictionaries. 

3. Meta fceui. A hay-rick ; which 
the Roman farmers made 

up into a conical shape, A 
with a very sharp point Av>\ 
(Columell. ii. 19. 2.) ; #''#-fk 
like the annexed example f|<:,u. 
from the column of An- * )tro 
toninus. Thus, also, other jr ; 'WL 
articles, such as cream ifeJ SSL.. 
cheese, when made up into a conical 
mass, were designated by the same 
name. Mart. i. 44. iii. 58, 35. 

4. Meta sudans. A fountain at 
Rome, near the Flavian amphitheatre, 
which was designed to imitate a cone, 
over which the water distilled from 
the top. (Sext. Ruf. de Reg. Urb. 4). 
Remains of this fountain are still to 
be seen between the Coliseum and 
the arch of Constantine ; and re- 
presentations of it exist on several 
medals, testifying the appropriateness 
of the name, which was also given to 
other fountains of a similar pattern. 
Seneca. {Ep. 56.) mentions one at 
Baiae. 

METATO'RES. In the army, 
officers who selected the site for a 
camp, and marked out its general 
position and dimensions. Cic. Phil. 
xi. 5. Lucan. i. 382. 

METITO'RES. Officers connected 
with the service of the aqueducts, 
whose duty it was to see that water 
was regularly laid on from the reser- 
voir (castellum) into the branch pipes, 
which conducted it through the city, 



422 



ME TOP A. 



MICA TIO. 




and to measure out the proper quan- 
tity allotted by law to each district. 
This was effected by regulating the 
diameter of the main pipes, and by a 
meter [calix) affixed to them, Fron- 
tin. Aq. 79. 

MET'OPA. (j« s 7-071-77). A metope in 
Doric columnar 
architecture ; i.e. , 
the panel which 
covered the open- 
ing between the 
triglyphs (Vitruv. 
iv. 2. 4. iv. 3. 5.) 
in a frieze, some- 
times left with 
a plain face, at 
others richly 
ornamented with 
sculpture, like 
those of the Parthenon, now preserved 
in the British Museum, and the an- 
nexed example from the Temple of 
Theseus at Athens. The triglyphs 
represent externally the heads of the 
tie-beams (ligna), and in the early 
wooden structures the space between 
one tie-beam and another {intertig- 
nium) was left open ; so that a 
stranger could effect an entrance 
through them, as Orestes did into the 
temple of Diana at Tauris. Eurip. 
Iph. Taur. 113. 

METOPOS'COPUS (utTtJTro- 
csKoiroc). A physiognomist, who tells 
another's fortune by observing the 
expression or character of his counte- 
nance. Suet. Tit 2. Plin. II. N. 
xxxv. 36. § 14. 

METRE'TA (fitTpnrm). The prin- 
cipal liquid measure of the Greeks, 
containing about 8 gallons, 7.365 
pints, English (Plaut. Merc. proL 75. 
Columell. xii. 22. I.); whence also an 
earthenware vessel of considerable 
size (Columell. xii. 51. 2.), used to 
contain oil, received the same name. 
Cato, R. R. 100. Juv. iii. 246. 

METULA. Diminutive of Meta. 
Plin. Ep. v. 6. 35. 

MICA'TIO ; or digitis mkare. A 
game of chance, combined with skill, 
still common in the south of Italy, 



where it now goes by the name of 
Morra. (Varro. ap. Non. s. v. p. 547. 
Suet. Aug. 13. Calpurn. Eel. ii. 26.) 
It is played by two persons in the 
following manner. Both hold up 
their right hands with the fist closed ; 
they then simultaneously extend a 




certain number of their fingers, call- 
ing out at the same time by guess- 
work the collective number extended 
by the two together, and he who 
succeeds in naming the right num- 
ber wins the game. The annexed 
figures, representing a couple of Egyp- 
tians playing at morra, from a paint- 
ing in the tombs, testify the very great 
antiquity of the game, and will serve 
to convey a distinct notion of the 
manner in which it was conducted to 
those who have never seen it played, 
It is the same as that still prac- 
tised, with the exception that 
the performers are in a sitting in- 
stead of a standing posture, as is 
now usual ; and that they appear to 
make use of all their fingers, instead 
of the right hand only, which must 
have greatly increased the difficulty 
and intricacy of the game, as it 
admits the various combinations which 
might be made out of twenty num- 
bers instead of ten only. The right- 
hand figure has extended all the 
fingers of his right hand, and three of 
his left ; his opponent puts out two 
with the right hand, and three on the 
left one ; thus the number exhibited 
is thirteen. If either of the parties 
cry out " thirteen " at the moment of 
opening their hands, but before the 
opened fingers are actually displayed, 
he wins ; if neither succeeds in guess- 
ing right, they again close their 
hands, cry out a number, and open 
the finders until one of them calls 



MILIAR IUM. 



MILLIARIUM. 423 



the right amount. What appears to 
be so simple is most difficult to exe- 
cute with any chance of success, and 
requires more skill and calculation 
than a person, who had not himself 
made the experiment, would imagine. 
Each player has first to settle in his 
own mind how many fingers he will 
show ; then to surmise how many 
his opponent is likely to put up, which 
he does by observing his usual style 
of play, by remembering the numbers 
he last called, and those he last 
showed ; he then adds these to his 
own, and calls the collective number, 
thus endeavouring to make the num- 
ber which he calls. But as all this 
which takes so much time in narrating, 
is actually done with the greatest 
rapidity, the hands being opened and 
closed, and the numbers simulta- 
neously called as fast as one can pro- 
nounce them — eight, two, six, ten, — 
it requires great readiness of intellect, 
and decision of purpose, for a player 
to have any chance of winning, as 
well as a quick eye and acute obser- 
vation, to see in a moment the aggre- 
gate number of fingers shown, so as 
not to overlook his own success ; nor, 
on the other hand, suffer himself to 
be imposed upon by a more astute 
opponent ; whence the Romans cha- 
racterized a person of exceeding pro- 
bity and honour, by saying that one 
might play at mora with him in the 
dark — dignus, quicum in tenebris mices. 
Cic. Off. iii. 19. 

, MILIA'RIUM. A copper for 
heating water, of considerable height, 
but small diameter, so that it presented 
the appearance of a tall and narrow 
vessel. ^Pallad. v. 8. , 
7. altum et angustum.) 
It was commonly used 
in heating Water for 
the baths (Pailad. i. 
40. 3.), as well as for 
domestic purposes 
(Senec. Q.N. iii. 24.) ; 
and, consequently, was 
made of various di- 
mensions. (Senec. 




Q. N iv. 9.) The illustration, which 
corresponds exactly with the above 
description, represents a miliarium, 
formerly used in the baths of Pom- 
peii, restored according to the im- 
pression which it has left in the 
mortar of the wall against which it 
was set ; the square aperture under- 
neath is the mouth of the furnace, 
actually existing, over which it was 
placed. 

2. A short thick column, which rose 
from the centre of the basin {morta- 
rium) in a mill for bruising olives 
{trapehim, Cato. R. R. xx. 1. Id. 
xxii. 1.) It is marked 2.2. on the 




annexed section and elevation of an 
original olive-mill, found at Stabia. 
The object of it was to support the 
square box (ctifia, 5.), into which one 
extremity of each axle, on which the 
wheels [orbes, 3.3.) revolved, was 
inserted ; so that when the wheels 
were driven round the basin (i.I.), it 
constituted the pivot upon which they 
and their axles turned. 

MILLIA'RIUM. A milestone; 
which the Romans placed 
along the sides of their 
principal roads, in the 
same manner as we do, 
with the respective dis- 
tances from the city in- 
scribed upon them, rec- 
koned at intervals of 
1000 Roman paces (our 
mile) apart. This custom 
was first introduced by C. 
Gracchus ; and the illus- 
tration represents an original Roman 
mile-stone, now standing on the Capi- 
tol, but which originally marked the 
first mile from Rome, as indicated 
by the numeral I. on the top of it. 
The rest of the inscription refers to the 




4^4 



MILLUS, 



MIMUS. 



Emperors Vespasian and Nerva, by 
whom it was successively restored. 

2. Milliarium aureuvi. The golden 
milestone ; a gilt column, erected by 
Augustus, at the top of the Roman 
forum {in capite Rom. fori. Plin. H.N. 
iii. 5. Suet. Ot/w, 6. Tac. Hist. i. 27.), 
to mark the point at which all the 
great military roads ultimately con- 
verged and ended. (Prut. Galb. p. 
1064.) The precise spot where it 
stood was not ascertained till about 
ten years ago, when an excavation, 
undertaken by the late pope, revealed 
a circular basement coated with marble 
at the north-east angle of the forum, 
close beside the arch of Septimius 
Severus, which, by the common con- 
sent of all archaeologists, has been 
received as the remaining base of the 
golden miliary column. But it does 
not appear that the mileage of the 
roads was constantly reckoned from 
this standard ; on the contrary, actual 
measurements of the distances marked 
upon Roman milestones, which have 
been found standing in their original 
places, prove that those distances 
were computed from the gates of the 
city (Marin. Frat. Arv. p. 8. Fabrett. 
Aq. p. 136.) ; and the law books also 
cite a third principle of measuring, 
from the last row of houses {mille 
■passus non a milliario Urbis, sed a 
continentibus cedificiis munerandi sunt. 
Macer. Dig. 50. 16. 154.). All which 
testifies that the practice varied at 
different periods, and led to litigation 
amongst the Romans themselves. It 
will be remembered that our mileage 
on some roads, which used to be 
marked from the standard at Cornhill, 
is now reckoned more commonly 
from one of the bridges. 

MILLUS. A collar for a sporting 
dog, made of leather, 
and armed with pro- 
jecting iron spikes 
{clavis ferret's emitien- 
tibus), particularly 
used for those which 
were trained for hunt- 
ing wild beasts, to 




protect the vulnerable parts of the 
neck and throat from their formidable 
adversaries. (Scipio Aemilian. ap. 
Fest. s. v.) The example here intro- 
duced represents one of Meleager's 
hounds, in a painting of Herculaneum, 

MILVI'NUS. Applied to pipes ; 
see Tibia. 

MIMA. (Cic. Phil ii. 24. Hor. 
Sat. i. 2. 56.) A female mime. See 
Mimus. 

MIMALL'ONES (fiifiaWoysg). A 
Greek name for Bacchanals (Stat. 
Theb. iv. 660.) ; distinguished, how- 
ever, from Bacchce by Strabo, x. 3. 10. 

MIMALL'ONIS. (Ov. A. Am. i. 
541.) A word coined from the 
Greek ; the same, or similar to Bac- 
CHA ; which see. 

MI'MULA. Diminutive of Mima. 
in a derogatory and contemptuous 
sense. Cic. Phil. ii. 25, 

MI'MULUS. Diminutive of Mi- 
mus ; also with an implied sense of 
inferiority. Arnob. ii. 69. 

M I'M US. In a general sense, 
means any person who takes off or 
imitates the manners, deportment, or 
expression of another, by gestulation, 
grimace, or feigned tones of the voice, 
corresponding with our mimic. But, 
in a more restricted meaning, the 
name was given to an actor on the 
stage, who played a part in a particu- 
lar kind of drama, designated by the 




same name ; a very broad, and for the 
most part indecent farce, in which 



MIRM. ILL ONES. 



MI SSI LI A. 



425 



private characters were shown up 
and exposed to ridicule. The mimic 
who performed these parts expressed 
his meaning by gesticulation and 
pantomimic action chiefly, though dia- 
logue was not entirely excluded. Ori- 
ginally he danced upon the floor be- 
low the stage, not upon it, and with- 
out a mask ; accordingly, in the an- 
nexed example, from an engraved 
ring, it will be perceived that nearly 
the whole of the face is exposed to 
view ; the mask, unlike those usually 
worn by comic actors, only covering 
a small portion of the cheeks ; the 
scalp is covered by a fur cap. Cic, 
Or. ii. 59. Ov. A. Am. i. 501. Id. 
Prist, ii. 497. Diomed. iii. 487. Com- 
pare Planipes. 

2. Buffoons, or mimics of this de- 
scription, were also employed off the 
stage, especially at great funerals 
{indictiva Junera), at which they fol- 




lowed the Prceficoe, dancing grotesque 
dances, and acting the part of merry - 
andrews, as exhibited by the annexed 
figure from a sepulchral lamp found 
in a tomb excavated in the Villa 
Corsini ; whilst the leader of their 
hand{arc/iimimus) affected to personate 
the deceased. (Dionys. viii. 72. Suet. 
Vesp. 19.) The instruments, which 
the figure holds, are crotala (see p. 
217.) ; and his head is decorated with 
the appropriate appendage of a fool's 
cap. 

MIRMILLO'NES. A class of 




gladiators usually matched in combat 
with the Thraces, 
or the retiarii. 
They wore the 
Gallic helmet, 
with the image 
of a fish for the 
crest, as exhibi- 
ted by the an- 
nexed figure, 
from a tomb near 
the gate of 
Herculaneum, at 
Pompeii. They 
are believed to 1 
have been originally Gauls ; but the 
derivation, as well as the allusive 
meaning of the name, is very doubt- 
ful. Cic. Phil. vi. 5. Suet. Dom. 
10. Juv. viii. 200. Festus s. Reti- 
arius. 

MISTA'RIUS. A vessel em- 
ployed for the same purpose as the 
crater, in which wine was mixed 
with water ; it is described as 01 
tall proportions, and with a handle 
on each side. Lucil. . Sat. v. 16. 
Gerlach. 

MISSIL'IA. Presents of various 
articles, thrown from an elevated 
platform amongst the people by the 
Roman emperors, or other wealthy 
individuals who sought to gain the 
favour of the populace by a largess 
{congiaruim) ; to which the modern 
practice of scattering money amongst 
the crowd at a coronation or other 
solemnities owes its origin. The 
missilia were in general the objects 
themselves actually thrown, and be- 
longed to those who had the good 
luck to catch them in the scramble ; 
but as some things, such as corn or 
wine, could not be disposed of in this 
manner, and others would be damaged 
by the fall and contest for their pos- 
session, billets or tokens {tessera) 
were in such cases thrown in their 
stead, upon which the name and 
quantity of the article to be received 
was inscribed, accompanied by a 
written order for the same, payable 
to the bearer upon presentation at the 



426 MI TELL A. 



MI TEA. 




magazine of the donor. Suet. Nero, 
11. Turneb. Advers. xxix. 9. 

MITEL/LA {ixirpiov), Diminu- 
tive of MiTRA. A coif or bandage, 
in the shape of a 
half-handkerchief 
(Celsus, viii. 10. 
3.) ; worn by the 
Greek women 
(Virg. Cop. 1.) 
round the head, 
as shown by the 
annexed exam- 
ple, from a bust 
in the British Museum, and fre- 
quently represented on fictile vases 
and the Pompeian paintings. Men 
used a similar bandage tied round 
their heads when at home, or at 
drinking bouts, to counteract the 
effects of the wine (Aristot. ap. 
Athen. xv. 16.) ; and Cicero speaks 
of it as a scandal that he had seen 
both young and old persons in the 
public streets of Naples wearing 
mitellcE. {Rab. Post. 10.) 

2. A sling for a broken arm, made 
of a bandage in the shape described. 
Celsus, /. c. 

MITRA (/urp«). In the strict 
generic sense, means a long scarf 
with ties (redimi- 
cida) at the end, 
which served to 
fasten it as re- 
quired for the 
various uses to 
which it might 
be put. This is 
clear from Callix- 
enus {ap. Athen. 
v. 28.), who de- 
scribes the colossal figure of Bacchus 
in the Dionysiac procession of Pto- 
lemy, as bearing a thyrsus in his left 
hand, with a mitra fastened round it, 
precisely as shown by the annexed 
example, from a bas-relief of the 
Pio-Clementine Museum, on which 
various implements and persons per- 
taining to the worship of Bacchus 
are sculptured. Hence the Greek 
writers apply the same term to the 




virgin zone (Callim. yov. 21. Zona) ; 
to a broad sash worn under the 
bosom (Apoll. Rhod. iii. 867. Stro- 
PHIUM) ; and the epithet dfitTpog 
(Callim. Dian. 14.), to designate a 
young woman who has not arrived 
at her full development or at mar- 
riageable years ; i.e., who did not yet 
require the zona or the strophium. 
Also the military belt worn round 
the waist, at the bottom of the cuirass, 
as a protection to the belly, was called 
by the same name. Horn. //. iv. 137. 
Cingulum, 4. 

2. In accordance with the preced- 
ing definition of a scarf with ties at 
the extremity to fasten it, the same 
name was given by the writers, both 
of Greece and Italy, to a particular 
kind of covering for the head, worn 
by the natives of Persia, Arabia, 
Asia Minor, and by the women of 
Greece, arranged so as to envelope 
the whole of the head from the fore- 
head to the nape of the neck, the 
sides of the face, and the chin, under 
which it passed ; whence the person 
who wears it is said to be veiled in 
it {mitra velatus. Claud, de Laud. 
Stilich. i. 156.), as characteristically 
displayed by the annexed example, 




representing a Persian mitra, worn 
by one of the followers of Darius, in 
the large mosaic at Pompeii. The 
Asiatic mitra, worn by the Phry- 
gians and Amazons, was a cloth cap, 
which covered the head as completely 
as the preceding, and was tied by 
strings or lappets under the chin 
(Isidor. Orig. xix. 31. 4. Serv. ad. 
Virg. sEn. iv. 216. ix. 616.), in the 



MITRA TUS. 



MODIOLUS. 427 



manner shown by the annexed ex- 
ample, l-epresenting the head of Paris, 
from a Pompeian painting ; and 




in works of art, generally, it is one 
of the usual characteristics of Priam 
and the Trojans, which distinguish 
them from Greeks and Romans, 
amongst whom the use of it was re- 
garded as a sign of extreme effemi- 
nacy. (Cic. Har. resp. 21.) The 
mitra of the Greek women was 
formed of a scarf of mixed colours 
(versicolor ibtis. Plin. H. N. xxxv. 
35.), fastened 
round the head 
and under the 
chin, in a style 
similar to the pre- 
ceding examples, 
as exemplified by 
the annexed illus- 
tration, from 
bust at Dresden ; 
but when intro- 
duced into Italv, 
particularly confined to aged persons 
and women of abandoned character, 
whether foreign or native. Ov. 
Fast. iv. 517. Prop. iv. 5. 70. Juv. 
iii. 66. Ulp. Dig. 34. 2. 25., in which 
passage it is mentioned as of a similar 
description, but different from the 
calantica. 

3. A strong cable, bound round 
the hu 1 of a vessel amidship, to 
strengthen the timbers in stress of 
weather. Isidor. Orig. xix. 4. 6. 
quo naz>h media vincitur. Tertull. 
Carm. de Jona et Ninive. 42. 

MITRA'TUS (iuT P i 1( p6 P 0Q). Wear- 
ing the mitra, as explained and illus- 




lts use was more 



Plin. 
7. 62. 



of 



{radii) and axle 
(Plin. H. N. ix. 




trated in the last article 
32. of Arabs ; Prop, iv 
Asiatics. 

MITTENDA'RIUS. An officer 
of the Imperial age, who was sent 
into the provinces to collect the 
tribute. Cod. Theodos. 6. 30. 2. 

MODIOLUS. Diminutive of 
Modius ; whence specially applied 
to various objects possessing a re- 
semblance in form to the modius ; as, 

1. (\V0J7, xoiriici), xoivik'ic, 7rA // /Ji't]) . 
The box or nave of a wheel, into 
which the spokes 
(axis) are inserted 
3. Vitruv. x. 9. 2.); 
whence also ap- 
plied to the axle 
itself (Soph. Electr. 
745. and by Varro, 
R. R. xx. xxi) to 
the axles which 
suspend the wheels 
(prbes) in an oil 
mill (trapetum). The illustration re- 
presents an ancient wheel, preserved 
in the museum of Prince Esterhazy 
at Vienna. The second and third of 
the Greek names bracketed imply 
that the principal dry measures of the 
Greeks and Romans (x<ni i'£ and 7no- 
dius) were of the same form, if they 
differed in capacity. 

2. A box, bucket, or scoop, in the 
shape of a modius affixed to the outer 
circumference of a water-wheel, 
which fills itself with water, and dis- 
charges the contents into a receiver 
as the wheel revolves. (Vitruv. x. 
5.). Sometimes wooden boxes were 
employed for the purpose, at others 
jars ; and the Chinese make use of a 
joint of bamboo. See the illustration 
s. Rota aquaria; which will explain 
their application and object. 

3. A particular part of the cata- 
puita and ballista (Vitruv. x. T2. I.) ; 
supposed to be a box or cap, which 
contained the rope ; but as the exact 
manner in which these machines 
were constructed is involved in doubt 
and obscurity, an authorized defini- 
tion is not attainable. 



MOD I US. 



MO LA. 




4. [irv%ig, Hero de Spirit, p. 180.). 
The box or cylinder in which the 
piston and sucker of a forcing pump 
acts (Vitruv. x. 7. ) ; marked B B re- 
spectively on the woodcuts s. Cte- 
sibica Machina and Sipho. 

5. (xoivitct)). A surgical instru- 
ment, like a trepan, for cutting out 
parts of bones, consisting of a cylin- 
drical borer, with sex-rated sides. 
Cels. viii. 3. 

6. A small drinking goblet. Scsev. 
Dig. 34. 2. 37. 

MOD'IUS and MOD'IUM. The 
principal dry measure of the Romans 
containing sixteen 
sextarii, or the 
sixth part of the 
Greek medimnus, 
something like 
the English peck. 
Its principal use 
was for measuring corn after it had 
been threshed ; differing in this from 
the cordis, which was employed for 
measuring corn in the ear, that had 
not been cut with its straw by the 
sickle, but nicked off under the ear 
with a serrated or a forked instrument 
{falx denticulata, merga. Cato, R. R. 
136. Hor. Ep. i. 16. 54. Cic. Div. 
Verr. IO.) The illustration is copied 
from a terra-cotta lamp, evidently 
intended to represent a modius, from 
the introduction of several shocks of 
corn, which in the original design are 
placed by its side. 

2. The sheath or socket in which 
the mast of a ship is fixed. Isidor. 
Orig. xix. 2. 9. 

MOD'ULUS. In a general sense, 
a measure by which anything is 
measured ; but more especially, a mo- 
dule, or measure of division, adopted 
by architects as a standard by which 
the proportions of an order, or the en- 
tire building, may be regulated. It 
may be taken at pleasure ; but the dia- 
meter or semidiameter of a column 
at the bottom of the shaft is the module 
mostly resorted to. Vitruv. v. 9. 3. 

2. In aqueducts, a water-meter ; 
same as Calix, 3. Front. Aq. 34. 36. 



MCE'NE, or MCE'NIA, plural, 
which is more usual. The walls 
of a town (Caes. B. C. iii. 80.), al- 
most synonymous with mums ; but 
with a more comprehensive sense, as 
it frequently includes all the build- 
ings in a town which were surrounded 
by a mums. Cic. Cat. ii. 1. Vitruv. 
viii. 3. 24. Virg. s£n. vi. 549. 

MOLA {/uv\i]). A mill ; a general 
term, like our own, including various 
contrivances for grinding different 
kinds of objects, whether driven by 
human labour, cattle, or water ; 
amongst which the following varieties 
are particularly specified : — 

I. Mola manuaria, or trusatilis 
(\fipofxv\r]) ; a hand mill for grinding 
wheat, or other farinaceous produce, 
such as beans, lupins, &c. (Aul. 
Gell. iii. 3. Cato, R. R. xi. 4. Ov. 
Med. fac. 72. Jabolen. Dig. 33. 7. 
26.) Several of these mills, more or 
less perfect, have been discovered in 
the bakers' shops at Pompeii ; all of 
which are constructed in the same 
manner, and consist of two stones 
cut into the peculiar shape exhibited 
by the annexed woodcut, represent- 




ing the mill with both its stones 
fitted together and ready for use on 
the right hand, and a section of the 
outer stone on the left, to show the 
different forms of each. The base 
consists of a cylindrical stone, about 
five feet in diameter, and one in 
height, out of which rises a conical 
projection about two feet high, which 
forms the lower millstone (meta), 
and has an iron oivot fastened at its 



MO LA. 



429 



top. The outer stone (catillus) is 
formed in the shape of an hour-glass, 
so that one half of it would fit, like a 
cap, upon the conical surface of the 
lower stone, receiving the pivot just 
mentioned into a socket made 
for the purpose in the centre of the 
narrowest part, between the two hol- 
low cones, which served the double 
purpose of keeping it fixed in its 
position, and of diminishing or equal- 
ling the friction. The corn was 
then poured into the hollow cup at 
the top, which thus served as a hop- 
per, and descended gradually through 
four holes pierced in its bottom on 
to the solid cone below ; where it 
was ground into flour between the 
outer surface of the cone and the inner 
one of its cap, as the latter was turned 
round and round {lapis lapidem terit ; 
Plaut. As. i. I. 16.) by the slaves who 
drove it, with the aid of a wooden 
bar inserted in each of its sides, for 
which the square socket is shown in 
the cut. The flour then fell out from 
the bottom into a channel cut round 
the base to receive it. 

2. Mola asinaria, or machinaria. 
A mill of the same construction and 
use, but worked by cattle instead of 
men, as shown by the annexed ex- 
ample, from a marble in the Vatican. 



n 




(Cato R. R. xi. 4. Ov. Fast. vi. 318. 
Apul. Met. vii. p. 143.) It will be 
perceived that the animal is blind- 
folded, as stated by Apuleius {Met. 
ix. p. 184.). 



3. Mola aquaria. A mill for 
grinding flour, driven by water in- 
stead of men or cattle. (Vitruv. x. 
5. Pal lad. R.R.I. 42. Auson. Mo-, 
sell. 362.) The millstones were 
similar to those represented in the 
two preceding woodcuts ; but the 
outer one was turned round by 
means of a wheel {rota aquaria), fur- 
nished with float-boards, and having 
a cog-wheel {tympanum dentatum) 
affixed to the opposite extremity of 
its axis, the cogs of which fitted into 
those of another wheel placed ver- 
tically over it, so that as the water- 
wheel revolved, it communicated a 
rotatory motion through the cogs to 
the outer stone {catillus) of the mill. 
See also Hydraletes. Ausonius 
mentions likewise saw-mills for cut- 
ting marble into slabs, driven by 
water {Mosell. 363.). 

4. Mola buxea. A small wooden 
handmill for grinding pepper and 
articles of a similar description. Pet. 
Sat. 74. 5. 

5. Mola versatilis. Probably a 
grindstone, like the annexed example, 
from an engraved gem, in which the 
stone {cos) is worked round by the 
foot in the same manner as now 
practised. (Plin. H. A T . xxxvi. 29.) 
Livy also (xxviii. 45.) appears 
to indicate a machine of the same 




kind ; but the interpretation is not 
altogether certain, for both passages 
might be referred to the common 
corn-mill, No. 1. 

6. Mola olearia. An olive mill, 
employed for bruising the olives, and 
grinding off the fleshy parts of the 



430 



MO LA RI US. 



MONERIS. 



fruit from the stones without breaking 
them. (Columell. xii. 52. 6.) In the 
opinion of Columella, the viola was 
che best of all the contrivances em- 
ployed for the purpose. He does 
not, however, explain the manner in 
which it was constructed, further than 
by saying that the bruising stone 
could be elevated at pleasure to suit 
the exact size of the olives, and thus 
avoid the danger of crushing the stones 
with the flesh, which deteriorates the 
oil ; but the same could also be done 
in the trapetuvi, by placing a block 
{orbiculus) under the axle, between 
the cupa and miliarium. (Cato, R.R. 
22. 2.) Still as Columella pointedly 
distinguishes the viola from the trape- 
tuvi, it may be inferred that the for- 
mer was a machine of somewhat simi- 
lar character to the common corn-mill 
(No. I.), consisting of two stones, the 
upper one being moveable, and work- 
ing round a stationary one below it. 
(Compare Geopon. x. 18. Pallad. xii. 
17. 1.) A third machine used for the 
same purposes was the solea et canalis 
(Columell. I.e.), the nature of which 
is entirely unknown ; and lastly a con- 
trivance called Tudicula, which see. 

MOLA'RIUS, MOLENDA'RIUS, 
MOLENDINA'RIUS, sc. Asinus. 
An ass which works in a mill. Cato, 
R.R. xi. I. Paul. Dig. 33. 7. 18. § 2. 

MOLENDINA'RIUS. A miller. 
Inscript ap. Grut. 1114. 6. 

MOLETRI'NA (/xvXujv). The 
building or place in which a mill is 
worked. Cato ap. Non. s.v. p. 63. 

MOLI'LE. The name given to a 
part of the apparatus used for turning 
a mill, both in those which were 
driven by men and by cattle. Varro, 
R.R. x. and xi. In the former pas- 
sage, it probably means the handles 
inserted into the sides of the upper 
stone (woodcut s. Mola, 1.) ; in the 
latter, the frame over the animal's 
back, to which he was attached when 
harnessed to his work (woodcut s. 
Mola, 2.). 

MOLTNA. The term employed 
by late writers for a mill. Ammian. 



xviii. 8. 11. P. Victor. Urb. Rom. 
Reg. iv. 

MOLLICTNA. See the next word. 

MOLOCH'INA, sc. vestis (^0X6- 
A garment made of cloth 
woven from the fibrous parts of the 
bark of the hibiscus (juoXoy^), a spe- 
cies of mallow, which is still em- 
ployed in India for making cordage. 
The word is also written viollicina, 
??ioluina, and violocinia, all evident 
varieties from the Greek original. 
Isidor. Orig. xix. 22. 12. Novius ap. 
Non. p. 540. Caecil. Ib. p. 548. 
Yates, Textrin. Antiq. pp. 304 — 309. 

MOLOCHINA'RIUS. One who 
deals in cloth made from the mallow 
plant. Plaut. Aid. iii. 49. Molo- 

CHINA. 

MONAU'LOS and -US {uovav\o±). 
A single pipe, of the simplest charac- 
ter, and played in the same way as our 
flageolet and clarionet. (Plin. H.N. 
vii. 57. Mart. xiv. 64.) The Greek 
name also designates the person who 
played it (Hedyl. Ep. ap. Athen. iv. 
78.), for which we find monaules. 
(Not. Tires, p. 1 73. ) The illustration 
represents a single pipe of this de- 




scription, from a statue in the Vatican, 
with a performer, showing the manner 
in which it was handled, from the 
Vatican Virgil. 

MONE'RIS {fiovi'ipT]g, novoicpoTog). 
A vessel which has only a single line 
of oars in file ; a galley ; as opposed 
to those which have two or more 
(Liv. xxiv. 33. Tac. Hist. v. 23. qua 
simplici ordine agebantur), as shown by 
the example, from the Vatican Virgil. 



MO N ETA. 



MO NO BO L ON, 



43 1 



Vessels of this class were sometimes of 




considerable size, and rated amongst the 
naves longie ; in which several rowers 
worked upon the same oar, by means 
of a false handle attached to it, in the 
same way as was practised in the 
Mediterranean galleys of the 15th, 
1 6th, and 17th centuries, and explained 
at length s. Remex. 

MONE'TA. The mint, where 
money was coined ; a building on the 
Capitol adjoining the temple of Juno 
Moneta. Cic. Phil vii. 1. Suet. Jul 
76. Liv. vi. 20. 

2. Hence the money itself (Ov. 
Fast. i. 221.) ; and the die or mould 
with which it is coined. (Mart. xii. 
55.) See Forma, 2. 

MONl'LE (pdvvoc). A necklace ; 
a very usual ornament worn by the 




y 1 



females of Greece and Italy, in the 
same manner as still practised ; and 
made in every conceivable variety of 
form, pattern, and material, of which 
the excavations of Herculaneum, 



Pompeii, and the tombs of Etruria 
have afforded numerous and highly 
valuable originals. The examples 
here introduced are all from Pompeian 
paintings, which are selected for illus- 
tration because they afford specimens 
of designs which appear to have been 
general favourites, as they are fre- 
quently met with on the fictile vases 
and other works of art. The top 
I figure is a head of Juno, who wears a 
necklace formed of stars of gold, alter- 
nating with a large bead between each 
star ; the two below are dancing girls ; 
the left-hand one with a single row of 
pearls or beads, the other with a num- 
ber of gold drops or pendants, pre- 
cisely similar in pattern to an original 
necklace now seen in the royal museum 
at Naples. 

2. Monile baccatnm. A necklace 
made with a string of beads, berries, 
or stained glass, of which the left- 
hand figure in the preceding woodcut 
affords an example. Virg. ALn. i. 
654. Lamprid. Alex. Sev. 41. 

3. A collar or necklace placed as 
an ornament round the throat or neck 
of favourite animals, such as horses 
(Virg. ALn. vii. 
278.) or deer. 
(Ov, Met. x, 
U2.) The fawn 
of Silvia is re- 
presented with 
this appendage 
in the Vatican 
Virgil ; and 
the annexed example, from a fictile 
vase, shows it upon a horse, having 
pendants in the shape of a crescent 
depending from it, which explains 
the monile Innatum of Statius, Theb. 
ix. 689. 

MONOB'OLON. A game in 
which various feats of leaping were 
displayed without the assistance of a 
leaping pole, or any other aid to 
muscular exertion, like the " sauts 
perilleux'' of the French, or the 
" mortal leaps" of our itinerant show- 
men. (Imp. Justin. Cod. 3. 43. 3.) 
The example is after an engraved 




432 



MONOCHROMA TA. 



MONOXYLUS. 



gem ; and though the word it illus- 




trates belongs to a late period, the 
work of art is of a much earlier date. 

MONOCHRO'MATA ^wvo X p(o- 
fiaTa). Paintings tinted with a single 
colour, either red or white for in- 
stance, upon a dark ground, as fre- 
quently seen on fictile vases. Plin. 
H. N. xxxiii. 39. Id. xxxv. 36. § 2. 

MONOGRAM'MOS {ixovoypap- 
//og). Literally, drawn in outline, 
like the earliest attempts at painting, 
which consisted only of outlines 
(Plin. H. N. xxxv. 5.) ; thence 
transferred to anything which has 
no substance, as the gods (Cic. N. D. 
ii. 23.) ; or a wretchedly attenuated 
person (Lucil. Sat. ii. 17. Gerlach.). 

MONOLFNUM. A necklace 
formed with a single string of pearls. 
Capitol. Maxim. Jun. I. Left-hand 
figure s. Monile, 1. 

MONOLI T H'O S (fioroXiOog). 
Formed out of a single block of stone 
or marble, as a statue, column, or 
pillar. Laberius ap. Non. s. Lenis. 
p. 544. Ampel. 8. Compare Plin. 
H. N. xxxvi. 5. § 13. 

MONOLO'RIS, sc. vestis. Deco- 
rated with a single pa?-agauda, or 
band of gold and purple, as explained 
s. Paragauda. Aurel. Vopisc. 46. 

MONOPOD'IUM. A word coined 
from the Greek to 
denote a table sup- ^ 
ported upon a sin- 
gle foot and stem 
(Liv. xxx ix. 6. 
Plin. H. N. xxxiv. 
8. ) ; though it is not met with in that 




language with the same meaning. 
The illustration represents an ori- 
ginal of mai'ble found at Pompeii. 

MONOFTEROS {novoirrtpoc). 
Literally, with only one wing ; 
whence adopted by architects to de- 
signate a circular shrine or temple, 
consisting of an open colonnade 
supporting a dome, under which an 
altar might be placed, but without 
any cell {celia, Vitruv. iv. 8. 1.), as 
shown by the annexed example. 
Vitruvius cites a temple of Bacchus 
at Teos as a specimen of this style 
(vii. Prcef. 12.) ; and some architects 




recognise another instance in the ex- 
isting ruins of an edifice at Pozzuoli, 
known as the temple of Serapis. 

MONOX'YLUS (novblvKoc). Li- 
terally, made out of a single piece of 




wood ; applied adjectively to any 
small boat scooped out of a solid 
trunk, such as the linter, alveus, sea- 
phula (Plin. H. N. vi. 26.); and, 
absolutely, as the name of a small 
broad-bottomed boat, employed by 



MONUMENTUM. 



MORA. 



433 



the Roman soldiers in making bridges 
over unfordable rivers. A certain 
number of these were usually trans- 
ported with an army upon carts 
(Veget. Mil. hi. 7.), and are re- 
peatedly represented on the columns 
of Trajan and Antonine, from the 
latter of which the annexed example 
is taken. 

MONUMENTUM {fxvi'uxa, pvt)- 
fitlov). In general, any monument, 
record, or memorial intended to per- 
petuate the memory of persons or 
tilings, such, for instance, as a statue, 
a building, or a temple, particu- 
larly one on which the name ot the 
founder is inscribed. Caes. B. C. ii. 
21. Cic. Verr. i. 4. Id. Div. i. 9. Ib. 28, 
2. Monnmentum Sepulcri, or abso- 
lutely ; a monument, tomb, or sepul- 
chre, erected in memory of a deceased 
person, including both those in 
which the remains were actually de- 
posited [sepulcrnm, strictly), and 
such as were merely erected to record 
the memory of any one apart from 
the place where his remains were 
buried. (Florent. Dig. 1 1. 7. 42. 
Festus, s. v. Varro, L. L. vi. 45. 
Sulpic. ap Cic. Fam. iv, 12. Hor. 
Sat. i. 8. 13. Nepos, Dion. 10.) 
These monuments were not allowed 
within the city walls, excepting in a 
few solitary instances, granted as an 
especial distinction, but were usually 
constructed by the sides of the high 
roads in a long line of magni- 
ficent elevations, forming a striking 
vista, suggestive of moral and 
noble sentiments to every passer 
by. The annexed illustration repre- 




sents a range of tombs on each side 
of the way immediately outside of 



the gates of Pompeii, on the high 
road to Herculaneum, and will con- 
vey an idea of the imposing character 
which the approach to ancient Rome 
must have possessed from the Appian 
Way, on which the monuments of so 
many of her illustrious men, both 
civil and military, once stood. The 
remains and ruins of these are still 
visible to the eye, in a continuous 
line along both sides of the deserted 
road, for a distance of four or five 
miles from the city. 

3. (yvioplaiuaTa). The toys or to- 
kens tied round the necks of infants 
when they were exposed as found- 
lings, in order that they might be 
recognized by any members of their 
families in after years, if they hap- 
pened to survive (Ter. Ettn . iv. 6. 
15.) ; more usually designated by 
the general term Crepundia, under 
which a more full description and 
ilustration is introduced. 

MORA (/ci'wowi', TTTkpvZ). A pro- 
jecting tooth or cross-bar on each 
side of a hunting- 
spear, below the 
head, and fixed to 
the ferrule or 
socket into which ^n - ^ 
the shaft fits. ff 
Such an adjunct 
was more particularly employed in 
boar hunting ; and its object was to 
prevent the pomt from penetrating 
too far, which would bring the ani- 
mal into close contact with the 
huntsman ; for as it came on with 
enormous weight and force, the shaft 
of the spear would follow the point, 
unless it met with some resistance, 
up to the hands of the person who 
held it. (Grat. Cyneg. 110. Xen. 
Cyneg. x. 3. and 16. Pollux, v. 22.) 
The last-cited author makes a dis- 
tinction between the tctwSujv and 
TTTtpnZ, which is satisfactorily ex- 
plained by the two examples an- 
nexed, both representing spear-heads 
from ancient monuments. (Alstorp. 
de Hast. p. 1 79. ) The sharp curved 
points, like teeth, are the Kvw&ovTi± ; 

2 E 



434 



MO R ZONES, 



MUCJNZUM. 



the straight ones with widening ends, 
like wings, the irrspvytg ; but as both 
served the same purpose of staying 
the onward course of the animal, they 
are included by the Latin writers 
under the one general name of mora, 
literally, a delay or hindrance. 

2. The cross-bar which guards the 
handle of a sword, and prevents the 



blade from penetrating beyond it, as 
shown by the annexed example from 
the sarcophagus of Alexander Seve- 
rus, at Rome. Sil. Ital. i. 515. 

3. A flat cross piece of wood at the 
bottom of a splint in which a broken 
leg is confined, for the purpose of 
supporting the foot and keeping the 
instrument in its proper place. Celsus, 
viii. 10. 5. 

- MORIO'NES. Deformed idiots ; 
who were purchased as slaves, and 
kept in the great Roman 
houses for the purpose 
of affording amusement 
by their want of mental 
capacity, conjoined, as 
it always was, with phy- 
sical malconstruction 
(Mart. viii. 13. Id. xir. 
94. Plin. Rp. ix. 17. I.), 
both of which properties 
are visibly expressed in 
the annexed figure from 
a small bronze statue, in 
which the eyes and teeth 
are inserted of silver, and which faith- 
fully illustrates the description given 
by Martial (vi. 39.) of one of these 
creatures, acuto capite. et auribus longis, 
Qucs sic movent in; tit sole nt asellomm. 

MORTA'RIUM (oX/tog): A mor- 
tar, in which ingredients are kneaded 
up and mixed together with a small 
pestle ( pistilluni), worked by one 
hand (Virg. Moret. 100.) in a round- 
about direction ( lb. 102. it manus in 
gy?'iim), and formed, as it still is, of 
a stone or other solid material, hol- 





lowed into the shape of a shallow 
basin ( lb. 96. lapidis cavum orbem. 
Plin. H. N, xxxiv. 
50. Ib. xxxiii. 41. 
Scrib. Co?np. III. 
Columell. xii. 57. 
1. Cato, R. R. 74.) 
The illustration re- 
presents an original 
-found amongst the ruins of Roman 
buildings in London. Compare PiLA. 

2. The hollow basin in which 
olives were placed in the bruising- 
machine, called a trapdum, to be 
crushed by the wheels which worked 
round it, (Cato, R. R. xxii. 1.) It 
will be observed from the figure on 
the right hand of the annexed wood- 
cut, representing an original trapetnm 
found at Stabia in elevation and sec- 
tion, that the mortarium (marked 1. 
I. on each plan) is a sort of basin 
with sides and bottom of the same 
hollow curvilinear form as the com- 
mon mortar, though the centre of it is 
occupied by a short thick column 




( miliarium, 2. 2.), which supports the 
bruising-atones ( orbes, 3. 3. ). 

3. A large basin, or receiver of si- 
milar form, in which fine cement or 
stucco was kneaded and mixed. Plin. 
H. N. xxxvi. 55. Vitruv. vii. 3. 10. 

4. A hollow trench dug round the 
roots of a tree to collect moisture 
(Pallad. iv. 8. 1.); a meaning which 
clearly arises from the resemblance 
which the trench and trunk of the 
tree bear to the ?nortarinm and mili- 
arium of an oil mill, as shown by the 
section in the preceeding illustration. 

MUCI'NIUM orMUCCI'NIUM. 
(Arnob. ii. 5.) A pocket-handker- 
chief for wiping the nose. See Su- 

DARIUM. 



MUCRO. 



MULTIC1US 



435 



MU'CRO. The point of any in- 
strument, weapon, or other artificial 
or natural object which is pointed, 
jagged, or sharply acuminated ; but 
more especially the point of a sword, 
as opposed to cuspis, the point of a 
spear. Ov. Met. xii. 485. Cic. Phil. 
xiv. 3. Virg. Lucan, &c. 

MULC'TRA, MULCTRA'LE, 
and MULC'TRUM (dftoXyevc). A 
milk-pail, for milking cows and goats 
(Virg. Ed. iii. 30. ■Georg. iii. 177. 




Hor. Epod. xvi. 49.); and in which 
the milk was carried while cried 
through the town. (Calpurn. Ed. iv. 
25.) The example is from the Vatican 
Virgil. 

MULI MARIA'NI. C. Marius, 
with the object of remedying the 
inconvenience resulting ^7fS> 
from the immense bag- 
gage- train which accom- 0/^^ 
panied an army on its 
march,made each soldier $0^% 
carry his own rations jS^ 
for a certain number of <<$$?izm^ 
days' provision, together '" f ^|0j^| 
withthevesselsfordress- p^^^^Tm 
ing it, and his personal i: ~" '• 

baggage, on the top of a pole fixed to 
his back. This custom was subse- 
quently retained, as shown by the 
annexed figure, representing one of 
the soldiers in Trajan's army, from 
the column of that emperor ; but when 
first introduced, the practice, being a 
novelty, gave rise to the joke which 
attached to these men the nickname 
of "Marius' mules," because they 
carried their loads like beasts of 
burden, on their backs. Frontin. 



Strateg. iv. 1. 7. Festus, s. v. and s. 
.^Erumnula. 

MU'LIO (opsoKofjoi;). A person 
who keeps mules to let out for hire, 
or for sale ; a mule-dealer and job- 
master. Suet. Vesp. 4. 

2. {t'l/Jiot'tiyoc, aoTfjafiiiXaTric). A 
muleteer, or mule-driver ; without re- 
ference to whether the animals were 
his own or not, or whether he drove 
them as a coachman, in harness (Suet. 
Nero. 30. Vesp. 23.); or on loot, as 
beasts of burden. Id. Vit. 7. 

MULL'EOLUS (Tertull. Fall. 4.) 
Diminutive of 

MULL'KUS. A half boot of a 
reddish or plum colour, worn by the 
patricians of Rome ; not. however, by 
all of them, but only those who had 
borne the curule magistracy, a dic- 
tator, consul, praetor, censor, or cu- 
rule aedile. (Cato. ap>. Fest. s. v. 
Vopisc. Aurel. 49. Isidor. Orig. xix. 
34. 10.) Some think the mulleusvtas 
the same as the calceus patridus (wood- 
cut s. v. p. 99. ) ; others, that it re- 
sembled the calceus repandus or wnci- 
natus, of which a figure is given on 
the same page, No. 3. 

MULOMEDTCUS (icTrjviarpoc). 
Strictly a veterinary who confines his 
practice to the diseases of mules, as 
contradistinguished from equarius me- 
dicus, a horse doctor ; but the word 
also bears a more extensive signifi- 
cation for a cattle doctor generally. 
■ Veget. Mulomed Prcef. i. and iv. 
MULTICTUS, MULTTTIC IUS, 
or MULTIT'IUS. Used to designate 
some particular kind of fabric, either 
of a very ingenious, or costly, or fine 
texture, out of which the wearing 
apparel of women, and men of luxu- 
rious or effeminate habits, was made. 
The precise meaning of the word is 
not clearly ascertained. Some derive 
it from multum and icio, and interpret 
it to mean " closely condensed " by 
the batten (radius, spatha), which is 
contrary to the character of trans- 
parency attributed to it ; others from 
mollitie ( a mulcendo ), in allusion to 
the softness of its texture : and others 



436 MUNERARIUS. 



M URRHINA . 



from multis liciis, i.e., which is made 
with many leashes {licia), thus indi- 
cating an intricate and elaborate pat- 
tern woven up in the fabric ; which 
seems to be the most rational inter- 
pretation. Juv. ii. 66. xi. 186. Va- 
lerian. Aug. in Ep. ap Vopisc. AureL 

12. Gloss. Phil ox. 
MUNERA'RIUS. The person 

who gives a public show of gladiators. 
Suet Dom. 10. Quint, viii, 3 34. 

2. Munerarius libellus. A bill of 
the show; or list announcing the names 
and descriptions of the gladiators about 
to be exhibited at a public show. 
Trebell. Claud. 5. 

MURCUS. A nickname given to 
those who maimed themselves by 
cutting off their thumbs in order to 
escape from military service. (Am- 
mian. xv. 12. 5.) This appears to 
have been not an uncommon practice 
(Aelian. V. H. ii. 9. Suet. Aug. 24. 
27. Plut. Lysand. Cod. Theodos. 7. 

13. 4. 5. and 10.) ; and to it our 
term poltroon owes its origin, through 
the Italian poltrone, abbreviated from 
pollice trunco. 

MUREX. A kind of fish, with a 
sharp-pointed and twisted shell, poet- 
ically given to the j/^S0% 
Tritons for a trum- J^bT .jrfWf / 
pet (Val. Flacc. iii. (^W^^S^^ 
726.), as in the an- 4^^Tiy 
nexedexamplefrom Js^^/ j 
a terra-cotta lamp ; uL,.^* M 
also used as a bottle \> ''^j^-W 
for holding un- \ " \ 
guents (Mart. iii. ^ 
82.) ; and in ornamenting grottos 
(Ov. Met. viii. 563.), of which exam- 
ples are still seen in the gardens of 
two houses at Pompeii. 

2. In a secondary sense, any 
thing which has a rough and prickly 
surface, with projecting points, like 
the end of the murex shell ; as a 
rock or stone full of acuminated pro- 
tuberances (Plin. H. N. xix. 6. Virg. 
JEn. v. 205.) ; a box or case set with 
spikes inside (Gell. vi. 4.) ; and, as 
some think, a very sharp bit, armed 
with spikes (Stat. Achill. i. 221. mn- 



rice frccnai acuto Delphiuas), like the 
lupatum, or the bits formerly used by 
the Mamelukes ; but as the passage 
of Statius has reference to a Triton 
and his dolphins, the more poetical 
interpretation would be, that he 
checks their course with the sound of 
his sharp-pointed shell instead of a bit. 

3. Murex ferreus. A caltrop ; an 
instrument made with four spikes of 
iron, adjusted in such a manner that 
when thrown upon the ground from 
any distance one of them always 




stood upright, as shown by the an- 
nexed example from an original. It 
was used in ancient warfare to impede 
the advance of cavalry and disable 
the horses. Val. Max. iii. 7. 2. 
Curt. 4. 17. 

MURICATUS and MURICTUS. 
Armed or formed with sharp projec- 
tions, like the point of the murex. 
Plin. H.N. xx. 99. Auson. Ep. ix. 4. 

MURILEG'ULUS. One who 
follows the occupation of murex fish- 
ing, the juices of which were exten- 
sively used by the ancients for making 
a purple dye. Cod. Justin, n. 

MUR'RHINA, MUR'RHEA, and 
MYR'RHINA. Porcelain vases. (Plin. 
H. N. xxxvii. 7. Prop. iv. 5. 26. Juv. 
vi. 156. Lamprid. Elag. 32.) Modern 
investigations seem to have placed it 
almost beyond dispute that the murrha 
of the ancients was a fine earth, dug 
in the East, out of which vases of 
different .kinds, but of a light and fra- 
gile substance, were made ; and many 
fragments of ancient porcelain have 
been discovered in various excava- 
tions, agreeing remarkably with the 
description of Pliny (H. N. xxxvii. 8.), 
in regard to the variety of colours 
with which they are covered ; though 



MUKUS. 



museum. 437 




in other respects his idea of the 
material which composes them may- 
be said rather to verge 
upon the truth, than to 
afford a faithful ac- 
count of the actual 
substance. But the 
well-attested fact that 
several bottles of real 
Chinese porcelain in- 
scribed with native characters, have 
been found in the tombs of Egypt 
(one of which is represented in the 
annexed woodcut, from the original 
of Salt's collection in the British 
Museum), distinctly proves that ob- 
jects of that material were exported 
from China at a very early period 
although the art of making it may 
not have been discovered by the 
Romans ; and this would account for 
the prodigious value set upon them. 

MURUS (re7x«f). A wall of stone 
or brick, built as a defence and forti- 
fication round a town, in contradis- 
tinction to paries, the wall of a house, 
or any other edifice. (Cic. N. D. iii. 
40. Id. Of.i. 11. Caes. B. G. ii. 12.) 
Town walls were usually constructed 
with square or round towers (turres) 
at certain intervals, a fortified gate 
{porta) at every point from which 
any of the great roads emanated ; 
sometimes with a trench {fossa) on 
the outside, having a mound {agger) 
within it, upon which the ramparts 
{loriccE propngnacula) were raised, 
surmounted by turrets {pinna) to 
shield the defenders. 

2. Murus crinalis, 
ornament for the hair, 
made in imitation of 
the walls of a town, 
with its towers and 
fortifications attri- 
buted by poets and 
artists to the goddess 
Cybele, to typify the 
cities of the earth over 
which she was pre- 
sumed to reign ; as in the annexed 
example from a mai-ble bas-relief. 
Claud, in Entrap, ii. 284. 



A crown or 




MUSCA'RIUM. {a6l3>,). A fly- 
flap for driving away flies, or whisk 
for dusting anything ; made of the 
long peacocks' feathers tMart. xiv. 
67.), or the tuft at the end of a cow's 
tail (Id. xiv. 71.) ; whence the word 
is also used for a horse's tail. Veg. 
Vet. vi. 2. 2. 

2. A case or closet in which papers, 
tablets, &c, were placed to preserve 
them from fly stains (Inscript. ap. 
Romanelli, Viagg. a Pompei, p. 168.) 
The modern Italians retain the same 
elements with a similar meaning in 
their w T ord moscajuola, which signi- 
fies a cupboard or safe where eatables 
are put by. 

MUSCA'RIUS. See Clavus 4. 

MUS'CULUS. A contrivance 
employed in sieges for covering 
and protecting the men from the 
enemy's missiles whilst engaged in 
throwing up their earth-works, and 
making their approaches to the walls. 
The manner in which it was con- 
structed is detailed at length by 
Caesar {B. C. ii. 10.) and Vegetius 
{Mil. iv. 16.) ; but no representation 
of the object itself, except conjectural 
ones, exists ; amongst these the one 
designed by Guischard {Memoires 
Milit. torn. ii. p. 58. tab. 2.), affords 
a good practical illustration to the 
text of Caesar. 

2. A small sailing vessel of ex- 
tremely short dimensions between stem 
and stern (Isidor. Orig. xix. t. 14. 
Not. Tir. p. 178.) ; the characteristic 
build as well as the name of which is 
retained by the Venetians, who still 
use the name of topo, the use, to 
distinguish a particular kind of small 
craft, amongst the many different 
ones which trade in their waters. 

MUSETJM and MUSI'UM {Mov- 
atiov). Originally signified a temple, 
seat, or haunt of the Muses ; thence 
an establishment instituted by Ptolemy 
Philadelphus, at Alexandria, for the 
promotion of learning and the support 
of literary and scientific persons who 
lived thereat the publicexpense(Suet. 
Claud, 42. Spart. Haa'r. 20. ) ; and the 



4 3 8 MUSI VA RIUS. 



MUTULUS. 



Romans also gave the same name j 
to a grotto, or place in their villas 
where they used to retire and enjoy 
intellectual conversation. Plin. 
H.N. xxvi. 42. Varro, R.R. iii. 5. 
9. Compare Cic. Leg. ii. 1. 

MUSIVA'RIUS. An artist who 
made mosaic work, the opus musivum, 
as explained under the following word: 

MUSI'VUM [fwvnslot'). The ori- 
ginal from which our term mosaic is 
derived ; but the ancients employed 
the word in a somewhat more re- 
stricted sense than we attach to our 
term. Amongst them musivum means 
a mosaic formed with small pieces of 
coloured glass or composition in 
enamel, as opposed to lithostrotum, 
which was made of natural stones or 
different coloured marbles. Mosaics 
of this description were not originally 
used forpavements, but onlyin ceilings 
(Plin. H. N. xxxvi. 4. Inscript. ap. 
Furnaletti de Musiv. cap. 1. p. 2.), 
because at first it was feared that the 
material was not of sufficient dura- 
bility to bear the wear and tear of 
footsteps ; but when this was dis- 
covered to be a groundless alarm, the 
same materials were employed in the 
construction of ornamental pavements 
(Augustin. Civ. D. xvi. 8.), either alone, 
or with the admixture of real stones, 
which enabled the artist to make his 
work more perfect, and his tints more 
varied and more true ; in short, to 
imitate a picture with considerable 
precision in all its colours, forms, and 
varieties ; whence this style of the 
art obtained the name of mosaic 
painting — pictura de musivo — and 
became the most perfect amongst the 
different processes employed for works 
of this nature, each of which had a 
characteristic name of its own, 
. which will be found in the list of the 
Classed Index. Plin. H.N. xxxvi. 
64. Spart. Pesc. 6. Visconti. Mus. 
Pio-Clem. vii. p. 236. 

. MUSTA'CEUM. A wedding-cake, 
distributed to the friends of the bride 
and bridegroom when they left the 
marriage feast. (Juv. vi. 202.) It 



was made of flour kneaded with new 
wine or must, cheese, and aniseed, 
and baked upon bay leaves. Cato, 
R.R. I2i. 

MUSTUM {-pul). Must ; i. e. 
new wine not yet fermented and 
racked off from the lees. Cato. Colu- 
mell, &c. 

M U T ATIO'NE S. Posting-houses, 
at which relays of horses were kept 
along the high roads for the service 
of the state, and the accommodation 
of travellers. ' The postmaster of the 
smallest mutatio was compelled to 
keep as many as twenty horses ; of 
the largest, not less than forty. Impp. 
Arcad. et Honor. Cod. Theodos. 8. 5. 
53. Cod. Just. 12. 51. 15. Com- 
pare Ammian. xi. 9. 4., where the 
word is used for a relay or change of 
horses. 

MUTATOR, sc. equorum. (Val. 
Flacc. vi. 161.) A poetical expres- 
sion for Desultor, which see. 

MUTTJLUS. In a general sense, 
any projection of 
stone - or wood, l r == ^ 
like the end of 
small beam or 
rafter, standing 
out beyond fhej 
surface of a wallj- 
(Cato, R. 7d'viii.[ 
9. 3. Varro, R. R.\ 
iii. 5. 13. Serv.j 
ad Virg. JEn. i.f 
740. ) ; whence' 
specially a mutide 
in architecture ; 
i. e. an ornament properly character- 
istic of the Doric order, consisting of 
a square projecting member, arranged 
at intervals over the triglyphs and 
metopes under the corona, and 
intended to represent in the ex- 
terior elevation the end of a prin- 
cipal rafter {canterius) in the timber 
work of the roof (see woodcut s.- 
Materiatio, ff.); consequently it 
is recessed upwards towards the 
front of the corona, in order to 
express the slanting position of the 
rafter, as shown by the angular 




MYOPARO'.. 



XABLIA. 



439 



mutule in our cut, representing a 
portion of the entablature to the 
temple of Theseus, at Athens. Vitruv. 
iv. 2. 3. and 5. 

: 2. In the Corinthian order, these 
members are now styled modillions, 
and are made of a more elaborate 
character, resembling ornamental 
brackets ; but. in many Roman and 
modern elevations, their original pur- 




pose of representing the ends of the 
principal rafters of the roof (canterii) 
is destroyed by the custom of insert- 
ing a row of dentils (dentictili), which 
represent the ends of the common 
rafters (asseres and woodcut s. Ma- 
teriatio, hh.), below them ; a prac- 
tice always censured and avoided 
by the Greeks. (Vitruv. iv. 2. 5.) 
The illustration represents a portion 
of the portico in front of the Pantheon 
at Rome, and shows the order in its 
pure state, having modillions without 
the objectionable introduction of den- 
tils underneath. 

MYOP'ARO. Diminutive of 
Paro. A small piratical craft em- 
ployed by the Saxon corsairs, made 
of wicker-work, covered with raw 
hides (Isidor. Orig. xix. I. 21.), and 
remarkable for its swift sailing. (Cic. 
Fragm. and Sallust. ap. Non. s. v. 
p. 534. Scheffer. Mil. Nav. ii. p. 72. 
Savaro ad Sidon. Ep. viii. 6. 

MYROPO'LA (LivpoTKoArjQ). A 
Greek perfumer or dealer in unguents 
and perfumes. Plaut. Cos. ii. 3. 10. 




.'■ MYROPO'LIUM (fwpowwXior). 
A Greek perfumer's shop or stall. 
Plaut. Ep. ii. 2. 17. 

MYSTA or MYSTES {/jvar^). 
Properly a Greek term, designating 
one who is initiated in the secret rites 
or mysteries of certain worships. Ov. 
East. iv. 536. 

MYSTAGO'GUS (,,v*Tayu> 7 6c, 
7rtpit]yr)Tii<:). A guide or cicerone, 
who conducts strangers rover places 
unknown to them, and points out the 
objects most worthy of observation, 
especially at the temples. Cic. Verr. 
ii. 4. 59. 

MYS'TRUM {nvarpov). A liquid 
measure of the Greeks, containing 
the fourth part of a cyathus. Rhemn. 
Fan. 77. 

MYX'A or MYX'US {{xvZa, 

fWKTllp). A 

word borrowed 
from the Greek 
signifying lite- 
rally the mu- 
cus which is 

discharged from the nostrils ; whence 
it is applied in both languages to de- 
signate the nozzle of an oil lamp 
through which the wick protrudes ; 
as shown on the left side of the an- 
nexed example. Mart. xiv. 41. 



N. 



NAB'LIA and NAU'LIA (vaftXa, 
vavXa, and vav\oi>). A musical instru- 
ment of Phoenician origin according 
to Athenseus (iv. 77.), and doubtless 
the same as the Hebrew nevel, so 
often mentioned 
in t the Psalms, 
whence it came 
to the Greeks 
and Romans. It 
was a stringed in- 
strument, having 
ten cords accord- 
ing to Sopater 
(Athen. /. e.), or twelve according to 
Josephus {Antiq. vii. 10.), was of a 
square form (Schilte ad Kircher. Mu- 
surg. ii. p. 49.), and was played with 




NANI. 



iVA TA TIO. 



both hands without the plectrum, but 
in the same manner as a harp. 
(Joseph /. c. Ov. A. Am. iii. 327. 
duplici genialia naulia palrna verrere. 
Csesius in Asterismo Lyr<z p. 189.) 
Ovid mentions it as an instrument of 
the same class as the lyra and cithara, 
but distinct from both ; particularly 
adapted for use in social life and fes- 
tive occasions, and the study of which 
he recommends to all young females 
who wish to gain admirers and culti- 
vate the art of pleasing. All these 
particulars agree so well with the in- 
strument and figure exhibited by 
the illustration, from a Pompeian 
painting, as to make it extremely 
probable that it was intended to re- 
present the nevel, while at the same 
time they are scaixely reconcileable 
with the statement of Athenseus (/. c.) 
that the instrument in question was a 
hydraulic organ. 

NA'NI (vawoi and vavoi). Pig- 
mies or dwarfs, beings of diminutive 
stature, kept for ostentation, and as 
rarities amongst the number of state 
slaves (Suet. Tib. 61.), both males 
and females, nance. (Lamprid. Alex. 
Sev. 34.) They were neither dis- 




torted in figure, nor of mental imbe- 
cility, like the moriones, for they 
were taught music and other accom- 
plishments (Propert. iv. 8. 41.). The 
illustration is from a small _ statue, 
probably executed as a portrait. 

NARTHE'CIUM (vap9-tiKiov,va P - 
Qt)%). A small case for keeping 
unguents and medicines (Cic. Fin. 



ii. 7. Mart. iv. 78.); made in a 
cylindrical form, like a joint of the 
fennel giant {vdpBi}%\ which 
may itself have been used for 
the purpose, but doubtless 
suggested the name, and au- 
thorised- the application of it 
to an object of corresponding 
form, though made of other 
materials ; as the annexed ex- 
ample, from an original of 
ivory found at Pompeii. 

NASITER'NA. A vessel which 
appears to have been very similar in 
use and character to our watering-pot, 
employed by the ancients for watering 
the race-course; in gardens and vine- 
yards, for watering the ground to lay 
the dust before a house, and similar 
purposes. (Festus s. v. Cato, R. R. 
x. 2. Plaut. Stick, ii. 3. 28.) It is 
formed from nasus, a nose or spout, 
with an augmentative termination, 
like cisterna from cista, thus meaning 
a vessel with a very long spout, and 
not with three spouts or three handles, 
as some have imagined. 

NASSA (/c^/zoc, Kvprrj). A weel, 
or basket for snaring fish, made of 
wicker work with a wide funnel- 




shaped mouth, long body, and narrow 
throat, constructed as our own are, 
in such a manner that the fish could 
enter it but not get out again. Fes- 
tus, s. v. Oppian. Hal. iii. 85. and 
341. Sil. Ital. v. 48., where the form 
and manner of making it is described 
at length, corresponding exactly 
with the annexed figure, composed 
from two Roman mosaics, in both of 
which it is represented as lying half- 
buried amongst sedges in a shallow 
piece of water. 

NASSITER'NA. See Nasiterna. 

NATA'TIO. A swimming-bath 
both in the open air and under cover 
(Celsus, iii. 27. I. Ccel. Aurel. Tard. 
i. 1.) ; consequently of a higher tern- 



NA UCLER US. 



NAVICULARIUS. 



441 



perature and of larger dimensions 
than the plunging-bath, baptisterium. 

NAUCLE'RUS (iWArjpoc). A 
Greek ship-owner, who gained his 
subsistence by carrying freights of 
merchandize and passengers from 
place to place, himself generally act- 
ing as the skipper or captain of his 
own vessel. Isidor. Orig. xix. i. 3. 
Plaut. Mil. iv. 3. 16. iv. 6. 68. Xen. 
Mem. iii. 9. 11. 

NAU'CULA ; for Navicula. 

NAU'LIA. See Nablia. 

NAU'LUM (vavXor). The price 
paid for a freight of goods or for a 
passage in a ship. Juv. viii. 97. 
Paul. Dig: 30. 39. 1. Lip. Dig. 20. 
4. 6. 

NAUMACHTA (vav M a X ia). A 
naval engagement ; but in Latin usu- 
ally applied to the representation of a 
sea-fight, exhibited as an entertain- 
ment to the people of Rome, in an 
artificial piece of water made for the 
purpose. Suet. Chmd. 21. Jul. 44. 
Nero, 12. 

2. An edifice constructed for the 
exhibition of sham fights, in imitation 
of naval engagements (Suet. Tib. 72. 
Tit. 7.) ; of which there were several 
in the city of Rome ; consisting of a 
large basin of -water, surrounded by 




an architectural elevation, containing 
seats for the spectators, similarly dis- 
posed to those in the Circus or Am- 
phitheatre ; as shown by the annexed 



example from a silver medal of the 
Emperor Domitian. 

NAUPE'GUS {vavTrrjyoc). A ship- 
wright. Pandect. 

NAVA'LE {vtwv, vtmpiw oA/c<h ? 
Herod, ii. 159.) A dock and dock- 
yard in which ships were built, re- 
paired, and laid up in ordinary, with 
all the gear and tackle belonging to 
them. Virg. sEn. iv. 593. Liv. viii. 
14. xl. 51. Vitruv. v. 12. 7. 

2. (i av<7Ta9/.iov). A roadstead, or 
harbour for ships on the coast. Ov. 
Her. xviii. 207. 

NAVAR'CHUS (raiapxoQ). A 
naval captain who commanded a single 
vessel in a squadron. (Veg. Mil. v. 
2. Cic. Verr. ii. 5. 32.) But the 
Greeks gave the same title also to the 
Spartan admiral-in-chief. Thucyd. 
iv. 11. 

NA'VIA. A small boat, like the 
alveus, linter, or monoxlyus. Macrob. 
Sat i. 7. 

2. Capita ant navia. An expres- 
sion used by the Roman boys when 
! tossing up, corresponding with our 
"heads or tails," instead of which 
they cried " heads or vessel," because 
' the oldest coins, the As and Semissis, 
I had the head of Janus for a device 
on one side, and the prow of a ship 




on the reverse, as shown by the 
annexed example, representing an 
original half as. Macrob. Sat. i. 7. 

3. A shallow trough, excavated 
from a single trunk of wood, like a 
boat, especially employed at the vint- 
age. Festus, s. v. 

NAVICEL'LA and NAVICULA. 
Diminutives of Navis. 

NAVICULA'RIUS. A Roman 
shipcnvner, who made an income by 
transporting goods and passengers 
from place to place in a vessel of 
which he was the owner and master ; 



44 2- .' MA VICULATOR. 



XA VIS. 



corresponding with the Greek naucle- 
rus. Cic. Fam. xvi. 9. Id. Vem ii. 
2. 55. Tac. Ann. xii. 55. 

NAVICULA'TOR. (Cic. Manil. 
5.) Same as last. 

NAVIGIOLUM. Diminutive of 
- NAVIGTUM {w\olov). A general 
term for any kind of vessel con- 
structed for sailing or rowing. Cic. 
Virg.-&c. 

NAVIS {vavc). A ship; as a 
general term, -including all kinds, 
whether worked by oars or sails ; but 
mostly applied to vessels of the 
larger class, with an epithet added to 
discriminate the particular kind in- 
tended ; as, 

I. Navis oneraHa (arooyyvXr] rave, 
ttXo^:u> (popriKOi'). A ship of burden ; 
empl oyed as a store ship in attendance 
on. a fleet ; or as a merchant vessel for 
the transport of goods, merchandize, 
or any kind of freight. It was of a 
heavy build, with a round hull, and 
generally whole decked, but had not 
an armed beak (rostrum), and was 
always worked as a sailing vessel, 
without oars or sweeps ; all which 
particulars are exhibited in the an- 
nexed example, representing the 




vessel of a Pompeian trader or ship- 
owner, from a sepulchral monument. 
Liv. xxii. 11. xxx. 24. Nep. Them. 
2. Non. s. v. p. 536. 

2. Navis actuaria (I.ttLkiottoc). A 
vessel, worked with sweeps as 
well as sails ; not intended to be 
brought into action, but employed in 
a fleet for all purposes requiring ex- 
pedition ; for keeping a look out, as 
a packet-boat, transport, and also by 



pirates. (Non. s. v. Gell. x. 25. 3. 
Liv. xxi. 28. xxv. 30.) It was never 
fitted with less than eighteen oars 
(Scheffer, Mil. Nav. ii. 2.) ; and the 
example introduced, representing the 




vessel which transported ./Eneas and 
his companions to Italy, in the A'ati- 
can Virgil, has twenty, ten on a side. 

3. Navis longa {vavc fxaicpa). A 
long sharp-keeled ship, or galley; 
propelled by a single bank of oars, 
and forming an intermediate class 
between the navis actuaria and those 
which had more than one bank, such 
as the biremis, triremis. &c. (Liv. 
xxx. 24.) These vessels were equip- 
ped with as many as fifty oars (He- 
rod, vi. 138.) ; and the annexed ex- 




ample, which is copied from a mosaic 
in a tomb near Pozzuoli, has forty- 
eight, twenty-four on a side, the 
exact number carried by the Medi- 
terranean galleys of the middle ages. 
(Jal. Archeologie Navale, torn. i. p. 
25.) The same word is also used in 
a generic sense for a man-of-war in 
general, including those which had 
several banks of oars, because, in 
reality, they were all laid down upon 
the long principle, with a sharp keel 
and lengthened line from stem to 
stern, instead of the short round bot- 
toms, adopted for the commercial 
marine and some piratical vessels. 



NAXA. 



NEO. 



443 



4. Navis tecta, strata, or constrata 
\vo.vq iciira(ppciKT>i). A decked vessel, 
as opposed to one which is open or 
half-decked. (Liv. xxx. 10. xxxvi. 
43. Hirt. B. Alex. 1 1. Tac. Ann. ii. 
6.) The first woodcut shows a 
decked vessel of the commercial 
marine ; the one following, of the 
navy proper. 

5. Navis aperta (a<ppaKTov). An 
open vessel, without any deck, or 
only half-decked. (Liv. xxii. 19. 
xxxvi. 43.) See the example, No. 3. 

6. Navis turrita. A war galley, 
with a tower erected on its deck, 
from which the combatants discharged 
their missiles as from the walls of a 





fortress (Virg. JEn. viii. 693. Flo- 
ras, iv. 11. 5.); said to have been first 
introduced by Agrippa. (Serv. ad 
Virg. /. c.) The illustration is from 
a bas-relief, published by Montfaucon. 

NAXA. The reading of some 
editions of Cicero (Att. xv. 20.) for 
NASSA ; which see. 

NEB'RIS (i'f/3pic). A fawn's 
skin; worn as an article of dress by 
persons addicted to the chase (Serv. 
ad Virg. Georg. iv. 342.) ; but more 
especially occurring in works of art, 



and amongst poets, as a character- 
istic covering- of Bacchus and his 



followers, by whom it is usually put 
on as an www. (Stat. Theb.\\. 664. 
Achill. i. 609.) The illustration, from 
a Greek bas relief, represents a Faun 
attending upon Bacchus, with the 
nebris in his hands ; and the wood- 
cut s. Simpulum shows it upon the 
person of a priestess engaged in mak- 
ing a libation. 

NEO (i-fw, vrjQu), kXioOuj). To 
spin, or twist a number of separate 
fibres of wool or flax into a single 
thread. The practice of spinning 
afforded universal occupation to the 
women of ancient Greece and Italy, 
as it does to the modern population 
of the same countries, in which every 
peasant woman spins her own thread, 
with the same simple machinery as 
was employed by the females of the 
heroic ages, the distaff (coins) and 
spindle (fusus). The annexed illus- 
tration, representing Hercules with 
the distaff and spindle of Omphale 
from an ancient mo- 
saic in the Capitol at 
Rome, will elucidate 
the manner in which 
the process is con- 
ducted, and explain 
the terms employed 
to describe the differ- 
ent steps in the ope- 
ration. The loaded 
distaff (coins compta. 
or lana antic t a J was 
fixed to the left side 
of the spinner, by running the end of 
thestick through theghdle{cin°-ulum), 
instead of which the modern women 
use their apron strings. A number of 
fibres (stamina) are then drawn 
down from the top with the left 
hand (ducere la nam. Ov. 'Met. iv. 
34. >, . and fastened to the spindle, 
which is then set twirling with the 
thumb and finger, as boys spin a tee- 
totum (stamina nere. Ov. Fast. ii. 
771. pollice versare. Met. iv. 34. ver- 
sare pollice fnsum. Met. vi. 22. Com- 
pare Tibull. ii. 1. 64.) The rotatory 
motion of the spindle, as it hangs 
suspended (wood-cut, p. 192.), twists 




444 NEOCORUS. 



NEUROBA 7 A . 



these fibres into a thread (Jilum), 
which is constantly fed from above 
by drawing out more fibres from the 
distaff as the twist tightens {ducere 
stamina versato fuso. Ov. Met. iv. 
221.). When the length of the thread 
has grown so long that the spindle 
nearly touches the ground, the por- 
tion made is taken up and wound 
round the spindle, and the same pro- 
cess is again resumed, until other 
lengths are twisted, and the spindle 
is entirely covered with thread, so 
that it can contain no more, when the 
thread is broken from the distaff 
{rumpere supremas colos. Val. Flacc. 
vi. 645.), and the whole rolled up 
into a ball (glomus) ready for use. 
Compare Catull. lxiv. 312 — 3 1 8., 
where the operation is described in 
detail. 

NEO'CORUS (vfutcopoc). A 
Greek term, corresponding to the 
Latin leditnus ; a verger who has the 
charge of a temple, and the objects 
contained in it ; and whose duty it 
was to attend to the sweeping and 
cleaning of the same. Hence the 
inhabitants of the Greek towns often 
styled themselves the ncocori of their 
patron divinity ; and in later times, 
as a piece of refined flattery, of the 
Roman Emperor ; thereby intending 
to express devotion and piety towards 
the sovereign, and at the same time 
insinuate his divinity. Firm. Math. 
3. 7. 11. 9. Inscriptions on coins and 
medals. 

NER'VIA. (Varro, ap. Non. s. v. 
p. 215.) Same as Nervus, I. 

NER'VUS (rii.ooi')..' The string 
of a musical instrument. Cic. Or. 
hi. 57. 

2. A bow-string. Virg. JEn. x. 
131. ix. 622. 

3. A raw hide, with which shields 
•were covered. Tac. Ann. ii. 14. Sil. 
Ital. iv. 291. 

4. (£i/Wt% Gloss. Philox.) A 
contrivance for confining slaves and 
criminals ; which appears to have 
had a considerable resemblance to 
our stocks, being made of wood or of 



iron, with holes through which the 
feet were inserted, and fastened with 
thongs. (Festus, s. v. Plaut. As. iii. 
2. 5. XII. Leg. ap. Geil. xx. 1.) 
Hence frequently used for Career. 

NESSOTROPHI'UM (v n oaorpo- 
(ptolv). A duck-yard, where ducks 
were reared and kept ; comprising 
one of the principal dependencies of 
a country villa or farm. It was en- 
closed by a wall fifteen feet high, 
carefully covered with cement of a 
fine quality, which was highly po- 
lished to prevent cats and vermin 
from climbing up it, and surmounted 
by a strong trellis, from the top of 
which a net was spread over the 
whole enclosure, in order to protect 
the inmates from birds of prey, and, 
at the same time, prevent them from 
flying away. The centre of the en- 
closure was occupied by a pool of 
water, having an island planted with 
aquatic shrubs in the middle ; and 
the sides of the pool laid down in 
grass to a depth of twenty feet from 
the margin of the water. Beyond 
this and against the outer wall the 
nests for the birds were ranged, each 
one being a foot square, formed of 
stone, and having some plants of box 
or of myrtle between it and its neigh- 
bour. Along the front of the nests 
there was a narrow trough or gutter 
sunk in the ground, through which a 
constant stream of water was directed, 
and in this the food was mixed. 
(Varro, R. R. iii. 10. Columell. viii. 
15.) It is not to be supposed that 
every duck-yard was formed upon so 
extensive and perfect a plan ; but the 
above description, from Cato and 
Columella, supplies a notion of the 
care and expense bestowed upon 
these birds by large farmers and 
wealthy country gentlemen. 

NEUROB'ATA {rtvpo^drm)- 
One who danced upon a very fine but 
strong cord made of gut, so that he 
would appear to the spectators at a 
little distance to tread upon nothing 
but the air ; whereas the regular rope 
dancer (funambulus) performed his 



NE UR OS PA S TOM 



NIMBUS. 



445 



exploits upon a stout rope easily dis- 
cernible, and, consequently, his art 
was inferior in point of skill and of 
the illusion produced. Vopisc. Ca- 
rin. 19. Firm. Math. 8. 17. 

NEUROSPASTON (rEvpooTran- 
toi>). A puppet, or marionette (Aul. 
Gel. xiv. I. 9.), having the different 
limbs attached by wires, so that they 
could be put in motion imperceptibly 
by a thread (Hor. Sat. ii. 7. 82.), as 
is still a common practice. These 
dancing dolls (which were very com- 
mon amongst the Greeks) were usually 
exhibited at their shows, and appear 
to have been brought to great perfec- 
tion ; for Aristotle (de Mund cap. 
6.), paraphrased by Apuleius {de 
Mund. p. 741.) speaks of some which 
moved their limbs, hands, head, and 
eyes in a verv natural manner. 

NICETE'RIUM {riKrjrijpiov) . A 
prize of victory, or reward of valour, 
like the phalaree or torquis, which the 
recipient wore on his breast or neck 
(Juv. hi. 68.), as the moderns do their 
crosses and ribands ; but the word is 
properly Greek, and has reference 
more particularly to the customs of 
that nation. 

NIMBUS. In its ordinary signi- 
fication, is applied to gloomy and 
troubled weather, a dark and stormy 
cloud, a shower of rain ; whence it is 
1 Iso used to express any thing which 
spreads itself like a cloud, especially 
the light fleecy vapour which poets 
assign to their gods when they 




appear upon earth ; as a lustrous veil 




irradiated by the heavenly splendour 
which emanates from them, like the 
nimb round Christian saints, and the 
annexed example, representing Iris, 
in the Vatican Virgil. (Virg. sEn. 
x. 634. Id. ii. 615.) 

2. But as an accessory of this ex- 
tent would be generally embarrassing 
in the conduct 

of a picture, A // \ 

the ancient ar- 
tists resorted to 
the expedient of 
representing the 
same thing in 
a conventional 
manner by a 
circle of light 
thrown only round the head, as in 
the annexed example, from a paint- 
ing of Pompeii. The later writers de- 
signated this circle by the same term 
(Serv. ad Virg. sEn. ii. 615. iii. 585. 
Isidor. Orig. xxix. 31. 2.) ; and it 
formed the original of the glory or 
aureole round the heads of Chris- 
tian saints. Most writers ascribe 
the use of the nimbus and glory, as 
now explained, to the Greek /;/}i(Woc, 
which was a circular disk of metal 
placed horizontally over the head of 
a statue in the open air, to protect it 
from the weather and bird-stains 
(Aristoph. Av. 1 1 14.) ; an object of 
undoubted utility in actual use, but 
scarcely appropriate, considering the 
association of ideas connected with 
it, to be adopted as an ornament for a 
god or a saint. 

3. A linen band, ornamented Math 
gold embroider}^, and worn by fe- 
males across the 
forehead (Isi- 
dor. Orig. xix. 
31. 2. Arnob. 
ii. 72. Compare 
Plaut. Pan. i. 
2. 138.); in or- 
der to contract 
its size, which 
produces a more 
juvenile appearance (compare Pet. 
Sat 126. 1$. frons minima,) as a mark 




446 



NIVARIUS. 



NODUS. 



•of beauty ; for a high forehead is 
the attribute of age, which bares the 
temples, not of youth. 

4. Nimbus vitreus. A vessel of 
glass, supposed to be used for cooling 
wine ; and so termed, because, when 
filled with snow, the steam on the 
glass gave the appearance of a mist, 
or to the contents that of a fleecy 
cloud. Mart. xiv. 112. 

NIVA'RIUS. See Colum, 2. 
and Saccus, 3. 

NODUS. A knot; by which cer- 
tain articles of apparel were tied on 
the top of the 
shoulder, instead 
of being fastened 
with a brooch 
{fibula). Virg. 
JEn. vi. 301. 
The example re- 
presents t w o 
Roman soldiers 
in their military 
cloaks, the one on 
the left fastened 
by a nodus, the 
other with a fi- 
bula, from a group on the Column of 
Trajan. The rustic at p. 429. play- 
ing the monaulos, has an exomis fast- 
ened in the same way, which was also 
the ordinary costume of the Greek 
and Roman mariners (Plaut. Mil. iv. 
4. 44.) ; and the barbarians on the 
columns are frequently represented 
with their cloaks {saga) tied by a knot 
like the above figure. From these 
instances it will be readily understood 
that the practice was especially 
characteristic of the poorer classes, 
who could not afford an ornamental 
fastening ; hence it is" assigned to the 
ferryman Charon to describe his 
poverty and occupation — sordidusex 
humeris nodo dependU amictus. Virg. I.e. 

2. A knot; by which the girdle 
{cingulum) was tied under the bosom 
(Virg. ALn. i. 320.) ; as shown by the 
next illustration, from a small ivory 
carving of Diana, draped in the man- 
ner described by Virgil in the pas- 
sage just 'cited — nodo sinus collecla 




fluentes. Hence the word is also 





applied to the embroidered girdle of 
Venus. (Mart. vi. 13.) See Cestus. 

3. A knot ; by which the band was 
tied round a tuft of hair ( cirrus, co- 
rymbus, crobylus ), 
produced by 
drawing the hair 
back from the 
roots all round 
the head into a 
mass at the occi- 
put, as shown by 
the annexed example, from a bas-re- 
lief 'of the Vatican ; a fashion fre- 
quently adopted by the young women 
and youths of Greece, and common 
to some of the German tribes. Mart. 
Spcct. iii. 9. Ep. v. 37. 8. Tac. Germ. 
38. : 

4. The knot or thong by which 
the common leather amulet ( bulla 
scortea ) was tied round the neck of 
poor people's children. (Juv. v. 165.) 
See the illustration s. Bulla, 2. 

5. A thong attached to a spear, for 
the purpose of discharging it with 
greater power when used as a missile 
(Sil. Ital. i. 318.) ; more commonly 
termed Amentum ; where see the 
illustration. 

6. The knot by which each mesh of 
a net is fastened ; whence the mesh 
itself. Manil. v. 664. 

7. (o£oc) A wood-bud. on the branch 
of a tree (Columell. Arb. iii. 4.) ; 
whence the knot produced by cutting 
off the minor shoots from the parent 
branch (Liv. i. 18.) ; and thence, in a 
special sense, the club of Hercules, 



NOMENCLA TOR. 



NUDUS. 



which is always represented as co- 
vered with knots. Senec. Here. CEt. 
1661. Alciphr. Ep. hi, 55. 57. 
Clava, 3. 

NOMENCLATOR. A sort of 
usher ; a slave kept by great person- 
ages amongst the Romans, whose bu- 
siness it was to make himself ac- 
quainted with the names and persons 
of every one who was in the habit of 
attending his master's levees, so that 
when the great man met any of them 
out of doors, the nomenclator, who 
accompanied him, announced their 
i names, and enabled him to address 
' them personally, or pay them some 
little appropriate compliment ; for to 
pass a client without notice, even in- 
advertently, might be regarded as an 
affront, and possibly be resented at 
the next elections. (Cic. Att. iv. I. 
Senec. Ep. 27.) In great houses, 
where the acquaintances and hangers- 
on were very numerous, the nomen- 
clator arranged the order of prece- 
dence amongst the guests, announced 
• the name of each dish as it was served 
up, and enumerated its peculiar excel- 
lencies. Pet. Sat. 47. 8. Senec. Ep. 
19. Plin. H. N. xxxii. 21. 

NORMA (icavuiv). A square for 
measurino; right angles ; employed by 




carpenters, masons, builders, &c, to 
prove that the angles are true. (Vit- 
ruv. vii. 3. Plin. xxxvi. 5 1 -) It was 
formed in two ways ; either by two 
rules { regulce ) joined together at 
right angles, or by a fiat piece of 
board with a right angle cut out of 
it ; both of which are exhibited in 
the illustration, from sepulchral 
marbles. 

NOSOCOMI'UM (vonoKOfiHor). 
A hospital, or infirmary for the poor. 
Imp. Justin. Cod. 1. 2. 19. and 20. 

NOT A'RII. Short-hand writers ; 
belonging to the class of slaves 
termed generally librarii, amongst 



whom they formed a distinct body, 
being especially employed to commit 
to writing the thoughts of their master 
at his dictation, Plin. Ep, hi. 5. 15. 
ix. 26. 2. Mart. xiv. 208. 

NOTA'TUS. A slave branded on 
the forehead with certain marks or 
letters declatory of the offence com- 
mitted. Mart. hi. 21. 

NOVA'CULA (ivpov). A knife with 
a very sharp edge, employed for shaving 
the hair of the head or beard, like our 
razor. (Pet. Sat. 103. 1. Mart. ii. 66. 
Suet. Cat. 23. Alciphr. Ep. iii. 66. 9. 
Compare Cultellus and Culter, 
5.) Martial (vii, 61.) applies the 
same name to the assassin's knife {sica). 

NUBILA'RIUM . A large shed or 
barn, open on one side, and situa- 
ted close by the threshing-floor (area), 
which was in the open air, in order to 
house grain until it was threshed out, 
and shelter it from sudden or partial 
showers. Varro, R.R. i. 13. 5, Colu- 
mell. ii. 21. 3. 

NUDUS (yujui/oc). Unclad; in 
the ordinary sense, denoting absolute 
nakedness ; thence, in common lan- 
guage, scantily or imperfectly clad, 
denoting a person of either sex who 




is divested of all clothing except that 
which is worn next the skin — the 
Roman of his toga, the Greek of his 
pallium — as we say undressed of a 
man without his coat, or of a female 
without her gown, But the Latin 
nudus, as well as the Greek yvfjivdt;, 
appear to have indicated something 



44-8 .NUMELLA. 



NYMPHjEUM; 



more precise than the mere absence of 
an outer garment (amictus) over the 
tunic. For both words are particu- 
larly used in describing the hard- 
working population, agricultural la- 
bourers, ploughmen, &c. (Hesiod. 
Op. 391. Virg. Georg. ii. 299. Aurel. 
Vict. Vir* Must. 17.), who either 
wore an exomis (wood-cut, p. 269.), 
or a very short tunic, girt high up 
above the knees, as the left-hand 
figure in the illustration from a Pom- 
peian painting , and when applied to 
females they occur as descriptive of 
one who escapes from danger in a 
hurried flight and half dressed (Xen. 
A nab. i. 10. 3.) ; or of the young 
Doric virgins who contended in the 
gymnasium (Aristoph. Lys. 82 ), 
and wore a veiy small chemise, not 
reaching to the knees, and leaving 
the right shoulder exposed (Pausan. 
v. 16. 2.), precisely as shown by the 
right-hand figure, from a statue in 
the Vatican. In all these instances, 
the style of clothing, which scarcely 
conceals the person, really does sug- 
gest a notion of nudity j but that is 
not so obviously the case when a 
person wears an ordinary tunic, with- 
out an amictus over it (see the ex- 
amples s Tunica) ; besides which 
both the Greeks and Romans had a 
separate word to distinguish that 
kind of dishabille ; viz. \wvo\Itwv or 
oioxirwv, and TuNICATUS. 

NUMEL'LA and NUMEL'LUS. 
A contrivance devised for the pur- 
pose of keeping men and animals 
in a fixed position without the power 
of motion, while under the infliction 
of punishment (Non. s. v. p. 144. 
Plaut. As. iii. 2. 5.), the operations 
of the veterinary (Columell. vi. 19. 
2.), or any process for which steadi- 
ness of posture was deemed requisite 
(Id. vii. 8. 6.). It was made like a 
pair of stocks for the neck, with two 
boards or bars sliding in grooves 
against the sides of two strong up- 
rights, so as to open and shut at 
pleasure, which allowed the head to 
pass between them, and when closed 



acted as a grip round the neck. (Co- 
lumell. vi. 19. 2.) The legs were 
then picketted by thongs round the 
ankles, or fetlocks, if necessary, 
Festus. s. v. 

NUMTDA. An outrider, or cou- 
rier-a-cheval ; a slave who rode be- 
fore his master's carriage, to clear 
the way, announce his approach, or 
for the sake of ostentation ; gene- 
rally, a Numidian, a race of people 
who were famous for their horseman- 
ship. _ Senec. Ep. 87. Ib. 123. Tac. 
Hist. ii. 40. Inscript. ap. Marin. Fr. 
Arv. p. 691. 

NUP'TA (vvfifri). A bride , 
meaning, literally, a female who is 
covered with a veil 
(from mibere), because 
the Roman women en- 
veloped themselves 
from head to foot in a 
large yellow-coloured 
veil at the wedding, as 
shown by the annexed 
figure of a bride, in a 
Roman bas-relief, re- 
presenting a marriage 
ceremony. Cic. Ov. 
Cses. Juv., &c. 

NUP'TEE (ya/ioc). A wedding ; 
marriage nuptials. See Matrimo- 
nium and Cone arreatio ; under 
which the rites and ceremonies are 
explained. 

NYCTOSTRATE'GUS. A title 
adopted under the empire instead of 
the old Prcefectus Vigilum, to desig- 
nate the officer who commanded the 
city watch, and went his rounds at 
night, attended by a guard, to protect 
the citizens from fire, robbery, house 
breaking, &c. Arcad. Dig. 50. 4. 1 8. 
§ 12. 

NYMPPLE'UM or NYMPHE'- 
UM (Nvfupaiov or "Sv/j (prior). Lite- 
rally, a building dedicated to the 
Nymphs (Plin. H. N. xxxv. 43.) by 
which was understood a grand and 
lofty chamber, decorated with co- 
lums, statues, and pictures, and 
having a stream of spring water 
gushing from a fountain in its centre 




OBBA. 



OBSERA TUS. 449 



(Liban. Antioch. p. 372.), so as to 
form a cool and agreeable retreat for 
the resort of a luxurious population. 
(Philostr. iv. 8.) Many edifices of 
this description are enumerated by 
P. Victor ( Urb. Rom. ) in the city of 
Rome ; and others writers generally 
speak of them in connection with the 
Therma (Ammian. xv. 7. 3. Capitol. 
Gord. 32. Cod. Theodos. et Valent. 
II. 42. 5. and 6.), to which establish- 
ments an apartment of the character 
described would form a most appro- 
priate appendage. 



<) 



OBBA (anfiiZ). A particular 
kind of drinking-cup (Pers. v. 148. 
Varro, ap. Non. s. v. p. 545.), made of 
earthenware, and sometimes of wood, 
or of the Spanish broom. (Non. /. c.) 
The Latin name is translated by the 
Greek a/i/3i£ in the glossary of Phi- 
loxenus ; and that word is explained 
by Athenaeus (xi. 8.) to be a drink- 
ing vessel with a *sr s\yf> 

sharp point. Di- 
oscorides (v. 1 10.) 
applies it to the 
lid of a vesse 
used for making quicksilver, in a 
passage translated by Pliny (H. N. 
xxxiii. 41.), who employs the word 
calix for the same object. The fi- 
gure annexed, from an original of 
baked clay, corresponds so com- 
pletely with all these particulars, the 
pointed form of Athenaeus, the calix 
of Pliny, and, when inverted, the lid 
of Dioscorides, as to remove all 
doubt respecting the genuine and 
characteristic form of the obba. 

OBBA'TUS. Made in the shape 
of an obba, as described under that 
word ; applied to 
the skull caps 
worn by Castor 
and Pollux 
(Apul. Met. x. 
p. 234.), which 
are often represented on works of 





art ending in a sharp point at the top, 
like the example annexed, from a 
painting of Pompeii. Charon wears 
a cap of still closer resemblance in 
shape to the drinking-cup delineated 
in the preceding wood-cut on a fic- 
tile vase in Stackelberg's Grab. d. 
Hell. PI. 47. ; so that there is no 
necessity for altering the reading in 
the passage of Apuleius, as some 
have done. 

OBELIS'CUS (o/3AtWoc). Lite- 
rally, a small spit ; whence applied 
to other things which pos- 
sess a sharp or pointed ex- 
tremity, like a spit ; and 
especially to the tall, slender, 
rectangular, columns, upon 
a narrow base, and terminat- 
ing in a point of the top, 
which were originally in- 
vented by the Egyptians, 
and retain their ancient name 
of obelisk with us. (Plin. 
II. N. xxxvi. 13. Ammian. 
xvii. 4. 6.) The illustration repre- 
sents an original Egyptian obelisk, 
covered with hieroglyphics, which 
was originally brought to Rome for 
the purpose of decorating the mauso- 
leum of Augustus, in the Campus 
Martius. 

OBEX. A fastening to a door. 
It does not appear that the word had 
any special meaning, being applied in 
a manner which admits of various in- 
terpretations ; a bolt, for instance, 
bar, lock, or latch ; and, conse- 
quently, it may be considered as a 
general term applicable to any of the 
various contrivances adopted by the 
ancients as door fastenings. Ow 
Met. xiv. 780. Tac. Hist. iii. 30. 
Paulus ex Fest. s. Obices. 

OB'OLUS (6(3o\6l : ). A small 
piece of Greek money, originally of 
silver coinage, but in later thnes of 
bronze ; and of which there were 
two standards — the Attic, worth 
about 1 \d. of our money, and the 
.Eginetan, worth about 2{d. Vitruv. 
iii. I. 7. 

OBSERA'TUS. Fastened with a 



45° 



OBS TR AGULUM. 



QCREA. 



The flat 
with which s 




Sera, which see. Terent. Eim. 
iv. 6. 25. Liv. v. 41. Mart. vii. 
20, 21. 

OBSTRAG'ULUM 
leather strap or thong 
shoe of the 
kind called 
crepida was 
bound round 
the foot, ^ 
passing be- 
tween the 
great and first toe, and over the in- 
step, as shown by the annexed ex- 
ample, from a Greek marble. Ex- 
travagant persons had these some- 
times studded with pearls. Plin. 
H. N. ix. 56. 

OBSTRIGIL'LUM. A particu- 
lar kind of shoe, which had the lap- 
pets for the strings sewed 
on to the sole at each 
side, as shown by the 
annexed example, from a 
Pompeian painting. Isidor. Orig. 
xix. 34. 8. 

OBTURA'CULUM and OBTU- 
R AMENTUM. A stopper, bung, 
or cork, for closing the mouth of a 
bottle, jar, or anything a 
of a like nature, some- iOk 
times made of cork, and 1 jl 
sometimes of glass. (Mar- j || 
cell. Empir. 35. Plin. || 111 



I most approved practice amongst the 
old Romans was to subdue the land 




H. N. xvi. 13.) 



The 



example represents a glass bottle 
and stopper, from a Pompeian paint- 
ing. 

OCCA'TIO i&GoAoKOTTia). The 
process of breaking up the clods of 
earth left by the plough (Cic. Sen. 
15.), which we call harrowing. It 
was effected by drawing a hurdle 
{crates) over the land, or a wooden 
frame set with teeth {dentata), simi- 
lar to our harrow, often weighted by 
the driver standing upon it ; and 
in very stiff soils the clods were 
broken and levelled by hand, with a 
heavy pronged instrument {rastrum), 
possessing the properties of a rake 
and hoe. (Plin. H. N. xviii. 49. § 3. 
Yirg. Georg. i. 94, 95.) But the 



by repeated cross ploughings instead 
of harrowing. (Columell. ii. 4. 2. 
Plin. /. c. § 2.) The illustration re- 
presents the process as performed in 
Egypt, from a tomb at Thebes, in 
which one man sows the seed, while 
the occator covers it with his harrow. 
OCCA'TOR (jSwAokoW). One 
I who harrows, as explained by the 
I preceding article and illustration. Co- 
! lumell. ii. 13. I. Plaut. Capt.m. 5. 3. 
I OCELLA'TA. Marbles ; for boys 
to play with. Suet. Aug. 83. Varro, 
ap. Non. s. Margaritum, p. 213. 

OC'REA (Kvt)y.is). A greave or 
ieggiu ; that is, a piece of defensive 
armour which covered the shin bone 
from the ankle 
to a little above jr 
the knee (Varro. ' 
L. L. v. 116.), 
being fastened 
by straps and 
buckles at the 
back of the 
leg, which part 
was left unco- 
vered, whence 
cruris dimidium tegimen, Juv. vi. 257. 
It was made of various metals, tin or 
bronze, modelled to the form and size of 
the person's leg by whom it was worn, 
and often highly ornamented by ar- 
tistic designs embossed or chased 
upon it. The illustration exhibits a 
pair of original bronze greaves, from 
Pompeii, represented in three-quarter 
front and in profile ; the buckles by 
which they were fastened on the legs 
are seen at the sides, and a number 
of small holes all round the edges, by 
which the linings were fastened into 
them. The originals are entirely 




OCREA TUS. 



(ECUS. 




covered with ornamental chasing 
over the surfaces left plain in our 
engraving, on account of the small 
scale on which the drawing is made. 

2. A hunter's leggin or boot ; 
poetically for Pero ; which see. 
Virg. Moret. 121. 

O C RE A'T U S . Wearing greaves. 
The Greeks and Etruscans wore a 
pair, one on each leg, 
as frequently repre- 
sented on their fic- 
tile vases, and exhi- 
bited by the annexed 
figure, which forms 
an ornament to the 
front of the ridge 
piece in a bronze 
helmet found at 
Pompeii ; the Sam- 
nites and gladiators 
equipped like them, 
wore only one, and that upon the 
left leg (Liv. ix. 40. Juv. vi. 256.); 
and the heavy infantry of the Ro- 
mans also wore a single greave, but 
on their right leg (Veg. Mil. i. 20.) ; 
for it was their system to come at 
once to close quarters, and decide 
the battle at the sword's point, the 
right leg being consequently in ad- 
vance and unprotected — a position 
exactly the reverse of the one 
adopted by those who use a spear, 
either for thrusting or hurling. 

2. When applied to huntsmen, as 
by Hor. Sat. ii. 3. 234, poetically 
used for Peronatus ; which see. 

OCTASTY'LOS (oKTdarvkos). 
Octastyle ; that is, which has a row 
of eight columns, in front of the pro- 
naos. Vitruv. iii. 3. 7. 

OCTOPH'ORON or OCTA'- 
PHOROX. A palanquin {lectica) 
carried by eight slaves (Suet. Cat. 
43. Cic. Q. Fr. ii. 10. Mart. vi. 84.), 
in the manner shown by the illus. 
trations s. Asser. 1. and Phalan- 

GARII. 

OCULARIA'RIUS. One who 
followed the trade of making false 
eyes, of glass, silver, or precious j 
stones, which were frequently in- ! 



serted in marble or bronze statues. 
Inscript. ap. Grut. 645. 1. ap. Fabretti, 
p. 641. n. 357. 

OCULA'RIUS. An oculist 
(Scrib. Comp. 37.) ; often connected 
with medicus or chirurgus. Celsus, 
1 vi. 6. 8. Inscriot. ap. Grut. 400. 7. 
ODE'UM {(i^lov). The Odeum ; 
a small theatre with a convex roof, 
! built by Pericles at Athens for mu- 
I sical performances (wScu. Plutarch, 
Pericl. 13. Vitruv. v. 9, 10.). Hence 
the name was adopted for any small 
theatre covered with a roof {theatrum 
tectum), and appropriated as a concert 
room. Suet. Dom. 5. 

OE'CUS or -OS {oIkos). Literally, 
the Greek name for a house Latin- 
ized ; and for a particular apartment 
in a house ; originally of Greek de- 
sign, but subsequently adopted by the 
Roman architects, who introduced 
several novelties into its constructive 
details. In general style of arrange- 
ment, it bore a close resemblance to 
the atrium, with the exception of 
being a close apartment, covered en- 
tirely by a roof, without any opening 
{compluvium) in the centre ; and was 
principally, though not exclusively, 
used as a banquetting hall, but sur- 
passing in height and area, as well as 
splendour, the ordinary dining-room 
{triclinium). (Vitruv. vi. 7. 2. and 
4. Plin. H. N. xxxvi. 60.) These 
apartments were built in four diffe- 
rent styles, each designated by an 
epithet descriptive of the construc- 
tion employed, or naming the country 
from which the particular plan was 
borrowed, or where it was most in 
use, viz. 

1. (Ecus tetra stylos. The fotir- 
columned cecus resembled an atrium 
of the same name (wood-cut s. Atri- 
um 2.), excepting that it had no im- 
pluvium, and the roof covered the 
square within the four columns, as 
well as the aisles all round them. 
Vitruv. vi. 3. 8. 

2. CEcus Corinthius. The Corin- 
thian cecus resembled an atrium 
of the same name (see wood- cut s. 



452 CENOPHOR UM. 



OLLA. 



Atrium, 3.). excepting that it had a 
vaulted roof, supported upon columns 
at a certain distance from the side- 
walls,- but without any opening in 
the centre or impluvium below. Vi- 
truv, vi. 3. 9. 

3. CEais /Egyptius. The Egyp- 
tian cecus was more splendid than 
the last described, having its root 
over the central portion of the saloon 
supported upon a double row of co- 
lumns, like a basilica (see wood-cut 
p. 81.), and thus a story higher than 
the sides, which projected like wings 
all round, and were covered with a 
flat roof and pavement, forming a 
promenade round the central and 
higher portion of the building. Vi- 
truv. vi. 3. 9. 

4. (Ecus Cyzicenus. The Cyzi- 
cene cecus, which was a novelty in 
Italy at the time of Vitruvius, though 
of frequent occurrence in Greece, 
was principally intended for summer 
use ; its characteristic peculiarity 
consisted in having glass doors or 
windows reaching down to the 
ground, in order that the persons re- 
clining at table might enjoy a view 
of the surrounding country on all 
sides. Vitruv. vi. 3. 10. 

CENOPH'ORUM {ohocpSpou). A 
basket or portable case for trans- 
porting small quantities of wine from 
place to place ; especially for the 
supply of persons on a journey who 
preferred carrying their own wine 
with them to taking the chance of 
buying what they could upon the 
road. Hor. Sat. i. 6. 108. Pers. 
v. 140. 

CENOPH'ORUS [oluocpopos). A 
slave who carried the wine basket 
{xnophoi-uni) last described. Such a 
character was represented by one of 
the statues of Praxiteles, which went 
by the name. Plin. H. N. xxxiv. 
19. § 10. 

CENOPO'LIUM {olvonwXiov). A 
wine shop ; like the modem beer 
shop and public house ; from which 
the inhabitants of the vicinity SU P" 
plied themselves daily with the re- 




quisite quantity of wine consumed at 
each meal. P'laut. As. i. 3. 48. 

OFFEN'DIX. Plural offendices ; 
the strings by which the apex, or 
cap worn by cer- 
tain orders of the 
priesthood, the 
flamines. and Set- 
Hi for instance, 
was fastened un- 
der the chin, as 
shown by the annexed example, from 
a Roman bas-relief. Festus, s. v. 

OFFICI'NA (ipyaaT-npiov). A 
workshop, manufactory, or place in 
which any handicraft trade is carried 
on (Cic. Off. i. 42.); as contradis- 
tinguished from taberna, a shop 
where retail goods are sold, and from 
apotheca, a magazine or store ; the 
particular kind being indicated by 
the name of the workmen em- 
ployed in it ; as, officina jullonum 
(Plin. //. N. xxxv. 40. § 39.), of 
fullers and scourers: tiugentium (Id. 
ix. 62.), of dyers; ccrariorum (Id. 
xvi. 8.), of smiths ; ceta riorum (Co- 
lumell. viii. 17. 12.), of drysalters; 
and so cn. 

OL'ITOR {\a X avh-ns). A kitchen 
gardener, as contradistinguished from 
topiarius, who attended to the shrubs 
and evergreens. Columell. x. 229. 
Id. xi. 1. 2. 

OLITO'RIUS, sc. hortus, a kit- 
chen garden (Ulp. Dig. 50. 16. 198. ; 
sc. forum, (AaxavoiraiAzloi') a vegetable 
market. Liv. xxi. 62. 

OLLA. A large jar or pot of 
very common use and manufacture, 
being formed 
of baked earth 
(Columell. viii. 
8. 7. Id. xii. 
; 43. 12,), though 
sometimes me- 
tal was em- 
ployed for the 
same object. 
(Avian. Fab. xi. Plin. // X. xxxiv. 
20.) It had a flat bottom, swelling 
I sides, very wide mouth, and lid to 
cover it ; and was employed for 




OLLARIUM. 



OPIFERsE. 



453 




many purposes, especially for cook- 
ing, like the French pot-a-feu, and 
for preserving fruits ; whence grapes 
kept in jars are called ollares uv<z. 
(Columell. /. c. Mart. vi ; . 20.) The 
illustration, from a painting at Pom- 
peii, shows all these particulars. 

2. Olla ossuaria, or cineraria. An 
earthenware jar of the same descrip- 
tion, in which the bones 
and ashes of the dead 
were enclosed after burn- 
ing, and deposited in the 
sepulchral chamber. (In- 
script. ap. Murat. 917. 
I. ap. Grut. 626. 6.) 
Ollce of this kind were 
mostly employed for 
persons of the humbler classes, many 
of them being deposited in one vault 
(wood-cut. s. Sepulcrum Com- 
mune) ; sometimes standing under 
niches round the walls of the cham- 
ber, but more commonly buried up 
to the neck in them, as shown by the 
following wood-cut. The example 
annexed represents an original found 
in one of the sepulchres excavated in 
the Villa Corsini at Rome ; the 
mouth is covered with a tile or lid 
(operculum), on which the name of 
the person whose ashes were con- 
tained inside is inscribed ; which ex- i 
plains an inscription in Muratori ! 
(1756. 7.), Ollce qua sunt operculis j 
et titulis marmoreis. 

OLLA'RIUM. A niche in a se- 
pulchral vault, in which cinerary urns j 
(ollce) were deposited (Inscript. ap. Fa- 1 
bretti, p. 13. No. 60.), mostly in 
pairs, like pigeons in a nest, whence 



missiles and stones of great weight. 
It is described at length by Ammianus 
(xxiii. 4.) ; but the details of ma- 
chinery are always obscure, when the 
actual form of the object itself is un- 
known. 

ONERA'RIA. (Cic. Aft. x. 12.) 
See Navis, i. 

OP'A or OP'E (otHj). A Greek 
term, for which the Roman architects 
employed the word columbarium. 
(Vitruv. iv. 2. 4.) It signifies the 
bed or cavity in which the head of a 
tie-beam (tignum) rests ; whence the 
space between one opa or tignum and 
another was termed metopa or inter- 
tignium. 

OPER'CULUM (irci/m). A lid 
or cover for a jar, pot, or other vessel 
of similar description. (Cato, R. J?. 
104. Columell. viii. 8. 7. ) See the 
three last illustrations. 

2. Operculum anibulatorium. A 
sliding or moveable lid, which might 
be depressed or raised, so as to cover 
exactly the contents in the vessel it 
belonged to, like that now used for 
snuff and tobacco jars. The Romans 
sometimes covered their beehives 
with lids of this kind, in order that 
the size of the honeycomb and hive 
might be exactly proportioned to 
each other. Plin. H. N. xxi. 47. 

OPERIMEN'TUM. A general 
name for anything which serves as a 
cover or covering. 

OPIF'ER/E Probably a cor- 




CIVU7S .CAES AH IS 
L. DEMETKIVS 



also termed columbarium. The il- 
lustration represents two niches, each 
one containing a pair of urns, from a 
sepulchre near Rome. 

ONAGER. A powerful engine 
employed in sieges for discharging 




ruption of hyperce (virepai). The 



454 



OPIFICINA. 



OPTIONES. 



ropes attached to the extreme ends { 
of the sail yard {antenna), for the j 
purpose of bracing the yaid round j 
to the wind, called by our sailors the \ 
braces. (Isidor. Orig. xix. 4. 6. j 
Horn. Od. v. 260.) They are very | 
plainly indicated in the example an- \ 
nexed, from the device on a terra- 
cotta lamp, each handled by a difie- j 
rent sailor in the act of bracing round j 
the yard by their assistance. 

OPIFICFNA. (Plant. Mil. iii. 3. j 
6.) Same as Officina ; which, 
though a contraction, is the more 
usual form. 

OPIL'IO {oloirSXos). A shepherd, 
or a shepherd boy who watches a 




flock of sheep at pasture. (Plaut. 
As. iii. 1. 36. Columell. vii. 3. 13. xi. 
I. 18.) The illustration is from an 
ancient manuscript of Virgil in the 
Vatican library. 



OPISTHOD'OMUStoTn^o'So^os). 
A private chamber, like the modern 
sacristy, built at the back of a temple. 
Front, ad M. Ca:s. 1. 8. ed. Ang. 
Maio. 

OPISTHO'GRAPHUS (6tt 1( t86- 
ypa<pos). Written on both sides of 
the paper, or backed, as it is techni- 
cally called by our compositors ; a 
practice not habitual to the ancients, 
but adopted sometimes for economy, 
especially in the case of foul copies 
which were intended to be written 
out fair afterwards. Plin. Ep. iii. 
5- i7. 

OPOROTHE'CA or OPORO- 
THE'CE (birupoQ-qar)). A store for 
preserving autumnal fruits, such as 
pears, apples, grapes, &c. Varro, 
R. R. i. 2. 10. Id. i. 59. 2. 

OPPESSULA'TUS. (Apul. 3Zf. 
i. p. 16. ix. p. 198. Ammian. xxxi. 
13. 15.) Fastened with a Pessulus ; 
which see. 

OP'PIDUM. Generally, a town ; 
thence, in a special sense, the mass of 
buildings occupying the straight end 
of a Circus (Naevius op. Varro, Z. Z. 
v. 133. Festus, s. v.), which included 
the stalls for the horses and chariots 
(carceres), the row of seats above, 
where the musicians and spectators 
sat, the gate between them, through 




which the Circensian procession en- 
tered the course (porta pompce), and 
the towers which flanked the whole 
on either side, all which together 
presented the appearance of a town, 
as shown by the annexed example, 
representing the oppidum in the cir- 
C'ib of Caracalla near Rome, restored 
from the existing remains, which are 
very considerable. One stall has 
been added on each side of the en- 



trance, because there were generally 
fourteen, though this particular cir- 
cus, which was a very small one, 
only had twelve. Its general situa- 
tion as regards the rest of the edifice 
is shown by the ground-plan, p. 165. 
A A and B., and a portion in elevation, 
belonging to the hippodrome once 
existing at Constantinople, at p. 166. 

OPTIO'NES. Deputies or adju- 
tants in the army, whom the superior 



OPTOSTROTUM. 



ORBIS 



455 



officers and centuriors had the power 
of appointing to assist them in the 
discharge of their duties, or to per- 
form their duty for them in case they 
were themselves invalided, or other- 
wise incapacitated. Varro, L. L. v. 
91. Veg\ Mil. ii. 7. 

OPTOSTROTUM. A flooring 
made, or paved, with bricks. Not. 
Tires, p. 164. ; from otttos, cactus, 
and (TTpwroi/, stratum. 

O R A. A hawser, or cable by 
which a vessel is made fast to the 
shore, and which was thrown out j 
from the stern, whilst the anchor and 
its cable {aucorale) kept the head 
seawards. Liv. xxii. 19. Quint, iv. 
2 41. 

ORA'RIUM. A scarf or hand- j 
kerchief given to the populace by 
some of the emperors at the Circen- ! 
sian games, to hold up and wave in ! 
the air as a sign of encouragement to ; 
the drivers. Vopisc. Aurel. 48. Au- i 
gust. C. D. xxii. 8. n. 7. Compare 
Hieron Ep. 52. 9. 

ORBIC ULUS. A roller or pulley 
revolving upon an axis, and 
having a groove in its circum- 
ference for the rope to fit into ; 
employed as a mechanical « 
power for raising or drawing \ 
weights in the same manner as 
still practised. Cato, R. R. 
iii. 6. Vitruv. x. 2. passim. 

2. A small roller placed at each 
end of an axle or cylinder, to make 
it revolve when drawn over the 
ground ; applied specially to the re- 
volver of the dentated cylinder used 
for threshing out corn in the ma- 
chine called Plostellum Punicum. 
Varro, R. R. i. 52. 1. 

3. A weight made in a flat cir- 
cular form, like the pulley, such as 
still used in our shops ; a set being 
made of different sizes, to fit one 
another, of which a specimen is en- 
graved by Caylus (vii. 31. 1.), from 
originals. Columell. iv. 30. 4. ; but 
the passage is very obscure. 

ORBI'LE. Varro, R. R. iii. 5. 
15. ; but the meaning, as well as the 



reading of the passage, is extremely 
doubtful. Some interpret the word 
to mean the felloe of a wheel ; 
others the extreme end of. the axle 
which enters the nave. Schneider 
would read orbis. 

ORBIS. In a general sense, 
anything of a circular shape ; par- 
ticularly when of a flat or hollow 
circular body, in contradistinction to 
globus, which expresses a solid round. 
Thence the word is frequently used, 
especially amongst the poets, for any 
object partaking of this constructive 
form ; as, the disk of stone or metal 
employed as a quoit (Ov. Fast. iii. 
588. Stat. Theb. vi. 656. Discus) ; 
the dish which contains the objects 
to be weighed in a pair of scales (Ti- 
bull. iv. I. 44. Lanx, 3.) ; the metal 
plate employed as a looking-glass, 
when made of a circular shape (Mart, 
ix. 18. Speculum) ; a circular shield 
(Pet. Sat. 89. 61. Stat. Theb. iv. 
132, Clipeus, Parma) ; the circle 
of a finger ring (Ov. Am. ii. 15. 6. 
Anulus) ; the iron tire of a wheel 
(Virg. Georg. iii. 361. Plin. H. N. 
viii. 19. Rota) ; a fillet of wool 
(Prop. iv. 6. 6. Infula) ; a circular 
table (Mart. xiv. 138. Cilibantum, 
Monopodium ) 

2. Orbts olearius (opos. ALsch. 
Fragm. Pollux, vii. 150. x. 130. and 
rpiirr-hp, Nicand. ap. Ath. iv. II.). 
A round flat board of strong wood, 
placed over the heap of bruised olive 
skins, or of grapes already crushed 
by treading, when they were subjected 
to the action of the press beam {pre- 
lum), in order that the beam might 
distribute its pressure evenly over 
the whole surface. (Cato, R. R. 18.) 
See the article and illustration s. 
Torcular, 2. where it is indicated 
by the number 6, and which will 
give a distinct notion of its use and 
character. 

3. (rpoxos. Geopon. ix. 19.) The 
grinding or bruising stone in an olive 
mill (trapetum), formed of a circular 
mass of volcanic stone, made flat on 
one side, and cylindrical on the other. 



45 6 



ORCA. 



ORCHESTRA. 



in order to coincide with the circular 
shape of the basin (morlamtm), 
round which it worked. (Cato, R.R. 
xxii. I. cxxxvi. 6. and J.) The cha- 
racter and action of these stones will 
be better understood by referring to 
the article and illustration s. Trape- 
TUM, on which they are marked by 
the numbers 3. 3. 

ORCA (6pK7) or vpx a )- An ear- 
thenware vessel of considerable size, 
but smaller than the am- 
phora, employed for holding 
pickled fish (Hor. Sat. ii. 
4. 66. Arist. Vesp. 676), 
dried figs. (Columell. xii. 
15. 2. Plin. // N. xv. 21.), 
oil and wine (Varro, R. R. 
i. 13. 6.). It is described 
as having a full body, sharp 
pointed bottom, small mouth, and 
long narrow neck (Bartolom. Font. 
Comment, in Pers. iii. 48), precisely 
as exhibited by the annexed figure, 
which represents one of the numerous 
earthenware vessels discovered in the 
wine cellar of which a description 
and representation is inserted p. 142. 
s. Cella, 2. The form of the vessel 
is also equally well adapted for the 
purpose ascribed toit byPersius(/. c.) ; 
whether his words are taken to mean 
a dice box with a long narrow neck 
— august ce collo non fattier orc(V, — or 
to describe a game played by the 
Roman children, in which a vessel of 
this kind was stuck upright in the 
ground, for boys standing at a certain 
distance to pitch nuts into its mouth. 

ORCHESTA {6 P xv(rri]s). (Cas- 
siodor. Far. Ep. iv. 51.) Properly, 
a Greek word, for which the Romans 
used Pan tom 1 m us. 

ORCHESTOPOLA'RIUS (op- 
XyvTOTroAos). A dancer in some par- 
ticular style not ascertained, beyond 
the inference collected from the 
name, which seems to imply that his 
art consisted in spinning his body 
round and round with great rapidity, 
like a dancing dervish of the East ; 
from dpxv<TTT]s, saltator, and tto\(w, 
versor. Firm. Math. viii. 15. 



ORCHESTRA {opx^rpa). The 

orchestra of a Greek and Roman 
theatre ; which occupied a corre- 
sponding position, as regards the rest 
of the edifice, with the pit of our 
theatres, and consisted of a flat open 
space in the centre of the building at 
the bottom, circumscribed by the 
lowest row of seats for the spectators, 
and the boundary wall of the stage 
in front, as shown bv the annexed 




wood-cut, representing a view in the 
smaller theatre at Pompeii, in which 
the low wall on the left forms the 
boundary to the stage, and the flat 
semicircular recess on the right the 
orchestra. 

2 In the Greek theatres, the 01- 
I chestra was the spot where the Chorus 
i stood and performed its evolutions, 
j for which a considerable space was 
! required ; consequently, it was deeply 
I recessed, and consisted of more than 
j a semicircle, as shown by the plan of 
the Greek theatre s. Theatrum, on 
which it is marked B. Plans of ten 
different theatres discovered in Lycia 
are engraved by Spratt and Forbes 
{Travels in Lycia, vol. ii. pi. 2.), all 
I of which possess the same construc- 
j tive form. In the centre of the 
1 orchestra was the thyjnele, or altar of 
I Bacchus. 

3. In the Roman theatres, the or- 
| chesrra has a close affinity with our 
I pit ; for as the Romans had no chorus 
I to their dramatic representations, it 
j was occupied by spectators, being ap- 
J propriated for the accommcdation of 
j the senators and persons of distinc- 
j tion (Suet. Aug. 35. A r ero, 12. Jul. 



ORCULA. 



OR DO. 



457 



39.) ; whence the word is used to 
designate the upper classes as opposed 
to the populace. (Juv. iii. 178.) It 
was likewise much smaller than the 
Greek orchestra, for the reason al- 
ready given, and consisted of an 
exact semicircle, as shown by the 
plan of the theatre at Herculaneum s. 
Theatrum, on which it is marked C. 

OR'CULA. (Cato R. R. 117.) 
Diminutive of Orca. 

ORDINA'RII. A general name 
for those slaves who occupied a posi- 
tion corresponding to what we should 
call upper servants in our households, 
including the atriensis or house por- 
ter, cellarius or cellarman, dispensa- 
tor or steward, pro?nus-condus, pro- 
curator, &c. They superintended and 
directed the execution of menial ser- 
vices, but did not themselves per- 
form them, for they had slaves of 
their own (vicarii), purchased with 
their own money, who attended upon 
them. Suet. Galb. 12. Ulp. Dig. 
47. 10. 15. Id. 14. 4. 5. 

2. Gladiatores ordinarii. Gladia- 
tors bred and trained in the regular 
manner, that is, who were thoroughly 
instructed in the rules of their art 1 
(Seneca, Ben. iii. 28. Id. Ep. 7. ! 
Compare Suet. Aug. 45.), as opposed j 
to the cater-varii, who fought without 
science and in tumultuous bodies. 

ORDO. In a general sense, a rozv 
or series of things placed in regular 
order of succession one after the 
other, as a row of trees, rank or tile j 
of soldiers, &c. 

2. In the ancient marine, a tier, | 
file, or, as it is commonly translated, I 
a bank of oars, varying in number. \ 
according to the class and size of the j' 
vessel, from one to fifty. The man- ! 
ner in which these banks or ordines \ 
were arranged or counted is still in j 
some respects a subject of dispute, \ 
and will probably remain without a j 
satisfactory solution, unless the lucky \ 
discovery of some artistic representa- ! 
tion should enable future antiquaries j 
to base their theories upon some j 
better authority than mere conjee- j 



ture ; for amongst the many plans 
j which have been suggested, there is 
j not one entirely free from objection. 
! Those which appear reasonable upon 
j paper, and have, perhaps, some appa- 
j rent classical authority to lean on, 
j are found to involve mechanical im- 
possibilities when reduced to prac- 
tice ; and those which are both feasi- 
ble, and proved by actual experiment 
1 to be practicable, must still be ac- 
cepted with hesitation, because they 
are wanting in classical authorities to 
support them. Up to the number of 
j five banks, we have: pretty clear evi- 
i dence, both circumstantial and posi- 
I tive, that each one was counted by 
rank, and not by file ; i. e. that the 
entire number of oars, no matter how 
many, extending in a line from the 
stem to the stern, formed an ordo or 
bank. Thus Tacitus describes a mo- 
neris, or vessel which had only one 
line of oars, by the expression, quce 
oxdine simplici agebatur {Hist. v. 23.), 
as shown by the annexed illustration, 
from a mosaic discovered near Poz- 




zuoli. In the bireme or vessel with 
two ordines, it is equally clear, from 
other words in the same passage of 
Tacitus, and the following illustra- 
tion, from a marble bas-relief, that 




the second bank was placed under 



458 



ORDO. 



ORESE. 



the first, and counted in rank from 
the bulwarks to the water's edge, the 
lower oar ports, and, consequently, 
the rowers' seats, being placed diago- 
nally under the first, in order to di- 
minish as much as possible the inter- 
val between one bank and the other. 
That the same principle was observed 
in the disposition of a trireme or 
vessel with three ordines, and each 
bank counted in a similar manner be- 
tween the water and the bulwarks, is 
testified by the expression of Virgil 
■ — terno consurgunt ordine remi {ALn. 
v. 1 20. ), and the annexed illustration, 
from an ancient Roman fresco paint- 




ing, which confirms it. A similar 
construction for four ordiiies is indi- 
cated by the illustration s. Quadri- 
remis, in which the banks are visibly 
four deep, in an ascending line from 
the water, though the individual de- 
tails are less circumstantial and ex- 
plicit, from the minuteness of the 
design, which is only the device upon 
a coin ; and we may thence fairly 
conclude that a fifth ordo was dis- 
posed and counted in the same way, 
because it has been ascertained by 
experiments that a series of five oars 
ascending in a slanting direction 
from the water's edge to the gunwale 
could be arranged within the space 
of nine perpendicular feet, the high- 
est point of elevation from the water 
at which an oar could be poised from 
its thowl [sccdmus] to be handled 
with effect. (Howell. War Gallies 
of the Ancients, pp. 49. 51.) Beyond 



this number the difficulty of counting 
the banks commences, and conjecture 
alone takes the place of authority, 
whether written or demonstrative. 
If more than five parallel tiers were 
placed one over the other, it would 
be practically impossible to use the 
oar in a sixth tier, the fulcrum being 
placed so high above the water that 
it would elevate the handle above the 
reach of the rower, or hinder the 
blade from touching the water, or the 
oar must be of such an inordinate 
length that the part in-board would 
reach from one side of the vessel to 
the other, and beyond it. How then 
are we to account for a vessel with 
forty banks of oars, like the one 
built by Ptolemy ? The most plau- 
sible solution is, that, in all the larger 
class of vessels, the oars were dis- 
posed in five parallel lines, as in a 
quinquereme, but that the banks or 
ordines, after the number of five, 
were counted in file instead of in 
rank ; i. e. each ascending file of five 
oars from the water's edge was called 
an ordo, but the number of banks or 
ordines were enumerated from stem 
to stern, instead of from the water to 
the gunwale. Thus a vessel with ten 
banks would have ten files of oars, 
counted from stem to stern, each one 
of five deep in the ascending line, as 
exhibited by the following diagram ; 

********** 
********** 
** ******** 
** ******** 

a vessel with forty banks would pre- 
sent tlje same arrangement of five 
deep in file, but each rank between 
stem and stern would contain forty 
oar ports instead of ten ; a length 
quite within reasonable bounds, for 
even the moneris, a small vessel, in 
the first cut, has twenty-four. 

O'RE.-E (xaAifos). ' A snaffle bit ; 
for riding and draught horses. (Ti- 
tinnius, X:evius, Cato, and Ccelius 
ap. Fest. j. v.) The curb bit, as used 



ORGANUM. 



OR THOGRA PHI A. 



459 



by us. in which a chain is pressed 
against the under lip and jaw by the 
leverage of branches, was unknown 
to the ancients, amongst whom the 
most approved bits were constructed 
with great regard to the tenderness 
of the animal'.-, mouth, being formed 
with easy supple joints, so that its 
action was elastic, like that of a 
chain, and the substance thick, in 
order that it might bear with less 
severity upon the parts, by distri- 
buting its surface more extensively 
over them. (Xen. Eq. x. 6. seqq.) 



for the purpose of arranging her hair 
(Ov. A. Am. iii. 239. Suet. Claud. 
40.), upon which the Roman women 
bestowed a vast deal of attention 
and ingenuity, judging from the 




All these properties are exhibited in 
the annexed example, from an ori- 
ginal of bronze, which is made to 
bend in joints, and is furnished with 
a circular revolver, midway between 
the centre and bridle ring on each side,, 
which induced the animal to keep his 
tongue and month in motion. 

OR GAXUM \ opycLvov). A gene- 
ral name given to any instrument, 
machine, or contrivance by which 
human labour is assisted in agricul- 
ture, architecture, warfare, &c. : dif- 
fering, however, from machina in. this 
particular, that it required a certain 
amount of skill from the person using 
it, whereas that only wanted brute 
force or numbers to work it. (Yi- 
truv. x. 1. 3. Columell. iii. 13. 12. 
Plin. H. X. xix. 20. ) Hence the 
word is especially given to musical 
instruments (Quint, ix. 4. 10. xi. 3. 
20.), and amongst these, more parti- 
cularly to the one from which our 
organ is descended (Suet. Nero, 41. 
Lamprid. Alex. Sez: 27. Id. Heliog. 
32. ) ; but which also had a special 
name of its own, inallusion to the water 
originally employed, instead of weights, 
for working it. See Hydraulus. 

ORNA'TRIX ( K0(T!J.7]T p LCL ). A 

lady 's maid, a female slave, whose chief 
business consisted in attending the 
toilette of her mistress, to dress and 
decorate her person, and especially 




various ana onen fantastic coiffures 
exhibited in the numerous busts re- 
'maining of the Imperial period. The 
annexed illustration represents an 
ornatrix, in a Pompeian painting, 
dressing her mistress's hair with 
flowers, some of which are seen lying 
on the toilette table beside her. 

ORNI'THON {bpviQ&v). An 
aviary or poultry-house , forming one 
of the principal appurtenances to a 
farm, or country villa, in which all 
kinds of domesticated birds were 
reared, kept, and fattened for the 
table. These buildings were con- 
structed and laid out upon a very 
magnificent scale by the Roman gen- 
try and farmers. Varro, A\ R. iii. 3. 
Columell. viii. 3. 

ORPHAXOTROPHI'UM {6 P <f>a- 
vorpo(p^iov). An asylum for orphans, 
where they were supported and edu- 
cated at the public expense. Cod. 
Justin. 22. 

ORTHOGRAPIIT A (6p6oypa(pia). 
I A geometrical or architectural draw- 
\ ing, representing an elevation or a 
section of a building ; the first of 
which consists in showing the exter- 
nal front of the edifice, with all its 
parts, apertures, and decorations, not 
in perspective, but as they would ap- 
pear to the eye of a spectator placed 
at an infinite distance from it ; the 
latter, in showing the whole plan of 



460 



ORTHOSTATA. 



OSSARIUM. 



the interior as it would appear in like 
manner if the external wall were re- 
moved. (Vitruv. i. 2. 3.) The de- 
signs which originally accompanied 
the work of Vitruvius being lost, we 
have no example left of this style of 
drawing amongst the ancients ; but 
the skill they exhibited in making out 
ground-plans, or mapping {ichnogra- 
phia) will stand surety for their excel- 
lence in this other branch of the art. 

ORTHOS'TATA (opdoardr^). 
Literally, which stands upright ; 
whence employed by architects to 
designate the front or facing of a wall, 




composed of different materials from 
the internal part of it ; viz. of regu- 
larly laid bricks or ashlar outside an 
irregular mass of rubble (fartura), 
as in the annexed specimen of Ro- 
man building. Vitruv. ii. 8. 4. 

OSCILLA'TIO (aidpa). A swing, 
or game at swinging (Pet. Sat. 140. 
Hygin. Fab. 130. Festus s. Oscillum. 
Serv. ad Virg. Georg. ii. 389.); a 
favourite amusement with the an- 




cients, and practised much in the 
same manner as now, excepting that 
the swing had four legs to stand upon 
the ground like a chair, and was sus- 
pended by four ropes instead of two, 
as indicated by the example, which 
represents a Greek lady swinging, 
from a design upon a fictile vase. 
The entire composition, in the original, 



contains another figure standing on 
the ground behind the swing, with 
her arms extended, in the attitude of 
one who has just pushed it forward, 
and awaits its return, to repeat the 
operation. 

OSCTL'LUM. Diminutive of Os ; 
a small mask or image of the face ; 
more especially of Bacchus, which 
the country people suspended in a 
vineyard in such a manner that the 
mask turned round and fronted dif- 
ferent directions, as it was impelled 
by the action of the wind ; it being a 
current belief that the district became 




fruitful towards which the aspect of 
the god was directed. (Virg. Georg. 
ii. 388—392. Macrob. Sat. i. 7.) 
The illustration represents several of 
these oscilla suspended on a tree, 
from an engraved gem ; and an ori- 
ginal marble mask of Bacchus, in the 
British Museum, with a ring at the 
top for hanging it up. 

OSSA'RIUM and OSSUA'RIUM. 
A case of marble, stone, or other ma- 
terial within which ^ 
a more valuable 
vase, containing the 
bones and ashes of 
the dead, were fre- 
quently enclosed, 
when deposited in 
the sepulchral cham- 
ber. (Inscript. ap. 
Grut. 1043. 1. Ib. 915. 3. ossuariwn 
viva sibi fecit. Ulp. Dig. 47. 12. 2.) 
The example represents the original 
case, in which the cinerary urn of 
Agrippina was enclosed when depo- 



" OSSA 

AGEIfFINAWACi!I!>l-'AE| 
Dlvi-AVGNEPTlSt 

GUMAKKI-CAE8A 
5IAraiS'CAESABIS -iVC'l 

cebjiaiuch-hdjcipk; 



■'ill,:!' 



OSTIARIUS. 



OVILE. 



sited in the mausoleum of Augustus, 
as testified by the inscription upon it ; 
and is now preserved in the Capitol 
at Rome. 

OSTIA'RIUS {9vpw P 6s). The 
door keeper or house porter ; a slave 
who sat in the porter's lodge [cella 
ostiaria. Pet. Sat. 29. I.), or, in an- 
cient times, who was chained himself 
by the side of the entrance (Id. 28. 8. 
Suet. Rh. 3.), to take cognizance of 
all who entered. Same as Janitor. 

OSTIUM (Oi'pa). In strictness, 
designates a door within the house, 
as the door of a room contradistin- 
guished from the street door {janua). 
(Isidor. Orig. xv. 7. 4. Vitruv. vi. \. 



6. } This distinction is clearly drawn 
in a passage of Plautus {Pers. v. 1. 
6. ), ante ostium et januam ; and is 
aptly illustrated by the annexed en- 
graving, representing the door-way 
of a house at Pompeii, to which the 
ceiling and doors, are restored, for the 
purpose of making the subject more 
clear and comprehensible. The ja- 
nua is the door flush with the exter- 
nal wall of the house, which gives 
admission to an entrance hall or pas- 



sage {prothyrum), at the further end 
of which is another door, the ostium, 
half closed in the engraving, which 
shuts off the atrium, or the aula of a 
Greek house, from the entrance pas- 
sage. Vitruvius styles both these 
duas jamtas (vi. 7. 1.); because the 
distinction above mentioned, though 
doubtless an accurate one, was seldom 
observed, the word ostium being com- 
monly used as synonymous with 
janua, for any front or entrance door, 
and especially for the entrance to a 
temple (Vitruv. vi. 3. 6.), an example 
of which is introduced p. 342. 

2. The door which closed the front 
of the stalls in which the chariots and 





horses were stationed at the Circus 
j (Auson.. Ep. xviii. II.); as shown 
by the annexed example, from a bas- 
! relief in the British Museum. 

3. The mouth or entrance to a 
j port. (Virg. JEn. i. 400.) See the 
! illustration s. Port us. 

OVI'LE. Literally, a fold or pen 
i for sheep or goats ; thence used to 
1 designate an enclosure in the Campus 
Martius, in which each of the tribes 
and centuries was separately mus- 
j tered, before the members proceeded 
to give their votes (Liv. xxvi. 22. 
! Lucan. ii. 197. Juv. vi. 527.); so 
I called because it was partitioned off 
j with a railing, p . nerva 
j like a sheep 
j pen, which is 
i indicated by 
j the palisade at 
the bottom of 
j theannexeden- 
! graving, from 
a coin of Nerva'; the figures above 
are intended to represent the voters 
as they come out of the ovile, and 




?<XXX>0<)C| 



462 



OVUM. 



PsEDAGOGUS. 




pass over the bridge {pons suffragi- 
orum), to throw their balloting cards 
{tabellce) into the balloting basket 
{cist a). 

OVUM. An egg; applied spe- 
cially to a number of conical balls, 
like eggs, which were 
placed on the top of a 
slab supported by co- 
lumns, on the barrier 
{spina) of a race- course 
{circus), in order to 
inform the spectators 
of the number of cir- 
cuits round the goals 
which had been run in each race. 
As a single race comprised seven 
circuits round the course, and the 
eagerness and interest taken by the 
populace in these exhibitions amounted 
to a sort of phrenzy, some contrivance 
became necessary for showing the 
number of rounds that had been 
made, in a manner which would at 
once preclude the possibility of dis- 
pute. This was effected by the plan 
shown in the annexed illustration, 
representing seven egg-shaped balls 
supported upon four columns, as they 
appear upon the spina in a Roman 
bas-relief, on which a chariot race 
is sculptured. The form of an egg 
was selected in honour of Castor 
and Pollux ; and one of these was 
either put up immediately that each 
round was completed by the leading 
chariot, until all the courses had 
been run ; or the entire number of 
seven eggs were put up at the com- 
mencement of each race, and one 
taken down, as each circuit was 
made. Considerable doubt and con- 
tradiction exist respecting which of 
these two methods was adopted ; but 
the object and effect would be the 
same in either ; perhaps, the practice 
varied at different periods, or in dif- 
ferent towns. Liv. xli. 27. Varro, 
K. R. 1. 2. 11. Cassiodor. Var. Ep. 



Dio. xlix. 



p. 417. 



OXYB'APHUS {otvfi&fov) 
(Rhemn. Fann. de Pond. 75. Isidor. 



Orig. 



A liquid measure 



containing fifteen drachms ; properly, 
a Greek form, for which the Latin 
word is Acetabulum ; which see. 



PyEDAGOGIA'NI, sc. fueri. 
Young slaves selected for their per- 
sonal beauty, and brought up in the 
houses of great people under the em- 
pire, to act as companions and atten- 
dants for their master's children, in 
place of the padagogus oi earlier times. 
(Ammian. xxvi. 6. 15. xxix. 3. 3.) The 
name, as well as the custom, in some 
measure, has passed down through 
the middle ages to the present day ; 
for the modern name of "pave" is 
an evident corruption of the old 
Latin term. 

PyEDAGO'GIUM. The division 
or department in great houses where 
young slaves were trained up for the 
service of pages {pcedagogiani), apart 
from the rest of the slave family. 
Plin. Ep. vii. 27. 13. 

2. A page. (Senec. Vit. Beat. 17. 
Id. Ep. 123. Plin. H. N. xxxiii. 54. 
Compare Suet. Nero, 28.) See P/E- 

DAGOGIANI. 

P^IDAGO'GUS {Kcu$aya>y6s.) A 
slave of the better class, whose pecu- 
liar duty it was to superintend the 
moral habits of his master's son, ac- 
company him in his walks, conduct 
him to and from school, and perhaps 
aiso to give instruction at home. 
(Cic. Am, 20. Senec. Ira, ii. 22. 
Quint, i. 1. 8. Id. i. 2. 10.) He 
thus occupied a position somewhat, 
though not exactly, analogous to 
that of tutor amongst us ; but resem- 
bled more closely the "tutore" of 
modern Italy, who is generally an 
"abate" and accompanies his charge 
upon all occasions, even when he 
goes to pay a visit, precisely like 
the pedagogue of ancient Greece and 
Italy. The figure introduced at y 
407. s. Manica, I. is believed to be 
intended for the pcedagogus of one of 
Niobe's children ; the stvle of the 



PsENULA. 



PAG US. 



463 



head and drapery are evidently meant 
to characterize a foreigner. Artem. 

P^E'NULA {<paiv6\r}s). Oneir. ii. 
3 p. 135. Reiff. An article of 
the outer apparel belonging to 
the class of garments termed vesti- 
menta dausa, or close dresses. It 
was a round frock, with a hood, and 
opening at the top for the head, but 
otherwise entirely closed down the 
front ; or sometimes with a slit reach- 
ing half way up from the bottom of 
the skirt in front, so that the flaps 
might be taken up and turned over 
the shoulder, in the manner shown 
by the right-hand figure in the an- 
nexed wood-cut ; but in all cases 




without sleeves, whence those who 
wore it are snid to be entangled, con- 
strained, and, as it were, enclosed in 
their pamtdcc {irretiti ; adstricti et 
velut inclusi. Cic. Mil. 20. Auct. 
Dial, de Oral 39. ). It was worn 
over the tunic ; particularly on jour- 
neys, and in the city during very cold 
or wet weather (Quint, vi. 3. 66. 
Lamprid. Alex. Sev. 27.) ; occasion- 
ally by women (Quint, viii. 3. 54.); 
and was either made of cloth with a 
very thick and long nap (Mart. xiv. 
145.), or of leather (Id. xiv. 130.). 
The illustrations exhibit a front and 
back view of the article, from statues 
engraved in the treatise of Bartholini, 
de Pcenula. 

2. A particular part of the forcing 
pump invented by Ctesibius of Alex- 



andria, and called after him Cte- 
sibica MaCHINA, under which its 
character is illustrated by the part 
marked l). Vitruv. x. 7. 

PiENUL A'R I U S. One who 
makes or sells pcenidce- Inscript. ap. 
Grut. 646. 5. 

P^NULA TUS. (Cic. Mil. 10. 
20. ) Wearing the pcenula, as ex- 
plained and illustrated under that word. 

PAGA'NICA, sc. Pila. A parti- 
cular kind of ball, stuffed with down, 
and covered with leather, originally 
used by the country people {pagani), 
from whom it received the name, 
though subsequently adopted by the 
more refined inhabitants of the city. 
It was larger and softer than the 
trigon, but smaller and of more con- 
sistency than the follis. Mart. xiv. 
45. Id. vii. 32. 

PA'GINA. Is either synonymous 
with scheda ; that is, a sheet of paper 
composed of a 
number of strips 
of the inner bark 
of papyrus (p/ii- 
lyrce), a number 
of which, when 
glued together, 
formed a book or roll [liber, vohcmen) ; 
or it signifies one of the written co- 
lumns upon the sheet, as seen in the 
annexed example, from a Pompeian 
painting ; thus corresponding pretty 
nearly with our page, which seems 
the best interpretation. Plin. H. N. 
xiii. 24. Cic. Q. Fr. i. 2. 3. 

PA'GUS {irdyos). A Greek word 
signifying literally a mountain peak, 
in which sense it was adopted by the 
Romans to designate any strong 
position in the midst of the open 
country, more fortified by nature than 
by art, like the top of a precipitous 
hill, to which the rural population of 
the surrounding district could retreat 
with their families, cattle, and pro- 
perty, as to a place of security, upon 
the occasion of any sudden incursion 
or razzia so frequent during the bar- 
barous methods of warfare which 
characterized the earlier periods of 




464 



PALA. 



PAL'MSTRICUS. 



Roman history. (Dionys. ii. 76. iv. j 
15.) And as each of these positions 
naturally formed the nucleus of a 
village, much in the same way as j 
many of the towns in modern Europe j 
have sprung up, from the tendency j 
of the industrious classes to establish j 
themselves within the protection of a 
baronial castle, the name of pagus j 
was given to the village and district 
immediately surrounding it, and the 
name of pagani to the peasantry j 
spread over it, expressly to distinguish j 
them from the military. Varro, L.L. \ 
vi. 24. 26. Virg. Georg. ii. 328. Ov. ! 
Fast. i. 669. Tac. Ann. i. 56. Cic. j 
Bom. 28. Suet. Aug. 27. 

PA'LA. A spade, with an iron j 
blade (Columell. x. 45.), employed j 
both in gardening and husbandry, j 
(Id. v. 9. 8. Varro, L. L. v. 134. I 
Liv. hi. i&.fossam foditns palee inni- i 
sics.) The ancient spade was, how- 
ever, not so heavy an implement as i 
the one now in use, having a longer 
handle, and smaller, as well as pointed 
blade, as exhibited by the annexed 
example, from a sepulchral painting 




of the Christian era. The modern 
Romans make use of a spade of pre- 
cisely the same form, which they 
designate by its ancient name, " la 
pal a" 

2. (irrvov.) A wooden spade, or 
shovel of the same form as the iron 
one, employed for winnowing corn, 
in the same manner as still practised 
both in Italy and Greece. (Cato, 
R. J?. xi. 5.) It is made use of on 
the threshing floor, and in the open 
air when the wind sets in with a mode- 
rate freshness. The labourer takes 
up a shovel -full from the heap of corn 
already threshed out, and throws it 



a considerable distance into the air 
across the direction of the wind, which 




separates and carries away with it the 
lighter particles of chaff and refuse, 
leaving the heavier grain to fall back 
upon the floor. The illustration re- 
presents an Albanian peasant win- 
nowing com with a pala in the Ete- 
sian wind. 

3. {navZpa, a(pevB6vq, nveXls.) The 
bezil of a ring. (Cic. Off. hi. 9.) 
Same as Funda, 4. where an illustra- 
tion is given. 

PALAESTRA (TraAaiVrpo). Pro- 
; perly a Greek word, often used in 
the same sense as Gymnasium ; or, 
I the distinction between the two terms 
j may consist in this, that the palestra 
] originally and properly speaking was 
\ the place where the athletes who con- 
I tended at the public games were 
trained and exercised in the art of 
I boxing, wrestling, &c. ; the gymna- 
j slum, on the contrary, an establish- 
l ment in which the youth of Greece 
! enjoyed the recreation of juvenile 
! sports and gymnastic exercises ; the 
I palcestra being that particular depart- 
I ment of it in which the gymnastic 
j discipline was undergone. (Plaut. 
j Bacch. hi. 3. 23. Catull. lxiii. 60. 
1 Vitruv. v. 11.) See Gymnasium. 

2. The Romans, when they applied 
! the word specially, used it to desig- 
! nate a particular part of their villas 
j fitted up for the purpose of active 
games and exercises. Cic. Q. Fr. 
iii. 1. 2. 

PAL.ESTRICUS {iraXai<TrpiK6s). 
In a general sense, one who is skilled 
in, or addicted to, the exercises of the 



PALJESTRITA. 



PALLA. 



palaestra. (Quint, i. II. 15.) But! 
the same name was more frequently- 
used in a special sense, to designate | 
a person who acted in a capacity I 
something between our drill master 
and dancing master, whose particular I 
province it was to teach the young | 
men of Greece and Italy how to j 
avoid awkwardness or rusticity of j 
manner, to acquire an elegant deport- j 
ment and graceful carriage, as well j 
as ease and propriety of attitude and 
gesture (Quint, i. II. 16. Id. ii. 8. 
7. Id. xii. 2. 12.) ; for, amongst the 
Greeks more especially, who were \ 
devoted admirers of the beautiful j 
under every form and combination, j 
grace was regarded as an essential j 
requisite, even in the violent contests j 
of the palaestra ; hence palcestrici \ 
motus (Cic. Off. i. 36.) mean the mo- | 
tions and gestures acquired from 
these masters, which Cicero very I 
properly condemns when carried to 
excess, or, as we should say, remind- 
ing one of the dancing master. 

PAL^ESTRI'TA (iraXaiaT pirns). 
One who exercises himself in the pa 
laestra. Cic. Verr. ii. 2. 14. Mart, j 
iii. 58. 25. 

PALAN'GA. See Phalaxga. 

PALA'RIA. Neuter plural. The j 
exercise of tilting, practised by re- j 
cruits of the Roman armies, against 
a stake {palus) set up in the ground as j 
a manikin, by which they learnt to go 
through their exercise. Chads, i. 21. 
Compare Veg. Mil. i. 1 1. Id. ii. 23. I 

PAL'E (7rct\77). (Stat. Ach. ii. 
441.) Properly, a Greek word, for 
which the Latin expression is Lucta. 

PALEA'RIUM. A loft, for the 
stowage of fodder straw, or chaff 
[palea). Columell. i. 6. 9. 

PALIMPSES'TUS(7r a \tV^77crTos). 
Parchment from which former wri- 
tings have been erased to make room 
for fresh ones. (Cic. Fam. vii. 18. 
Catull. xs:ii. 5.) Hence the name 
of palimpsest is given by the learned 
to those manuscripts, which, though of 
themselves of a respectable antiquity, 
are found to have been written over 



others still older. It is probable that 
this practice of obliteration and re- 
writing upon the same skin was some- 
times pursued by the Greek and Ro- 
man booksellers, in cases where the 
original composition was of little in- 
terest or value ; but none of those now 
actually in existence are believed to 
possess a higher date than the ninth 
century ; and it is often found that 
works of superior merit have been 
washed out, in order to receive other 
matter ; the original writing under- 
neath being still discoverable, and 
even legible. Thus Cicero's treatise 
de Rcpub. was found, and deciphered 
by A. Maio, under a commentary of 
St. Augustin on the Psalms. 

PALLA {^varis, irenXov). A term 
employed by the Latin authors to de- 
signate an article, strictly speaking, 
of the Greek female costume ; worn 
as a robe of state by ladies of distinc- 
tion, goddesses, and mythological 
personages ; and by musicians and 
actors on the stage. Non. s. v. p. 
537. Hor. A. P. 278. 

It was composed with an oblong 
rectangular piece of cloth, folded 
before being put on, in a very pecu- 
liar manner, which will be readily 
understood from the annexed dia- 
gram and description. The entire 
square A B c D was first turned back 
or folded down in the line E F, which 
reduces it to the parallelogram 
E F C D, the line A B coinciding at 
the back with the line G H in front. 
It was then doubled across the middle 
in the line ikl, and the side FC 
brought together with the opposite* 
one ed, the part turned back 
being left on the outside, so that the 
whole is finally reduced in size to the 
figure ED Li, which is double, and 
entirely closed on one side, repre- 
sented by IKL, but open at the other, 
egd. It was then put on in the fol- 
lowing manner. The wearer opened 
the two sides, thus brought together 
at egd, and passed one of them 
round the back, so as to stand ex- 
actly in the centre of the square 



466 PA 



EDL I, or edit in the illustration on the j 
opposite column. She then fixed the | 
A B 



EM N I 






& wv J£ r 


.A/^AAAAAAA/ 


H 


i^VV\A/\AAAAAAAAA/'yv'VV\AA A^Ka/ 1 A AA> 






3) L 



back and front together by a brooch on 
the point of the left shoulder at N, pass- 
ing her arm through the aperture N I ! 
of the diagram, and Nz in the draped I 
figure. Another brooch was then 
fixed on the top of the right shoulder, ; 
at M, which one of the females is in 
the act of doing, so that the parts be- 
tween M and N afford an opening for 
the head, and those between ME (or 
Me, draped figure), another arm-hole 
for the right arm, similar to the one 
on the other side. The corners E, 
G, and I, K, on the first diagram, or 
e and i on the last one, will fall down 
in the direction indicated by the 
dotted lines, and occupying the situ- 
ations marked eg, i k, on the drapery 
of the right-hand figure ; while the 
whole of the upper portion of the 
costume corresponds exactly with the 
words of Sidonius Apollinaris {Carm. 
xxii. 31.), which describe a statue of 
Bacchus in female attire, like the one 
in the Vatican (Mus. Pio-Clem. vii. 
2.) ; nec tegit exsertos, sed tangit, 
palla lacertos. It is, moreover, obvious, 
from the preceding account, that the 
palla thus described was in itself a 
loose piece of drapery, adjusted on the 
person by folding round it, like any 
other article of the Amictus ; whence 
it is that persons thus attired are said 
to be pallis amictce (Varro, op. Non. 
s. v. p. 549. ) ; and this peculiarity 
will be brought still more forcibly 
under observation by referring to the 
wood -cut j\ Peplum, 1. which repre- 



sents the side view of a figure, frcm 
a statue of Herculaneum, belonging 




to the same set as the two preceding, 
and wearing the same kind of cos- 
tume, with the whole of the left side 
completely open, so that it might be 
mistaken by careless observers for a 
pallium. But sometimes the square 
piece of drapery, after being folded 
down at the top, and again in half, 
as above described, was partially 
j sewed together at one of its sides, from 
the bottom to half or two-thirds of 
its length, as is clearly exemplified 
j by the figure on the left hand in the 
! preceding illustration, in which the 
j broad band down the right side shows 
I the hem by which the united parts are 
joined. In this state it becomes a 
round or close dress — vestimentum 
i clausum — which was of necessity 
put on over the head, like any 
other article of the Indutus; whence 
I a person so draped is said to be pal- 
lam induta (Ov. Met. xiv. 262.) ; and 
in appearance, it possesses consider- 
able resemblance to a tunic, a resem- 
blance still further increased by the 
I usual practice, when thus adjusted, 
I of confining it round the waist, or 
j above the hips, by a girdle, as shown 
j by the right-hand figure above ; 
whence the expression palla succinc- 
tarn occurs in Hor. Sat. i. 8. 23. 

It should not be concealed that this 
explanation is at variance with the 
ordinary interpretation given to the 
term by lexicographers and phi- 



PALL A. 



467 



lologists, who content themselves with 
saying that palla is merely a poetical 
word for pallium, more especially 
used in regard to women. But, 1. 
The pallium is never an article of the 
indutus, as the palla is ; on the con- 
ti-ary, it, or a piece of drapery similar 
in general character, was sometimes 
worn over the palla, as by Circe in 
Ovid (/. c.) -pallarnqtu induta ni- 
tentem, Insuper atcrato circumvelatur 
amictu. 2. The palla is frequently 
described as a garment that covered 
the feet(Ov. Am. iii. 13. 26. Compare 
Virg. y&n. xi. 576. Stat. Ach. i. 
262.), which the pallium never does, 
nor could do. 3. It was fastened 
with a girdle (Hor. /. c), which the 
pallium never is, nor could be. 4. 
Nonius {s. v. p. 537 ) and Servius 
{ad Virg. Alu. i. 648.) both explain 
the term palla by a compound word, 
tunic o-p allium, meaning that it pos- 
sessed the properties of a tunica and 
a pallium, or in other words, that it 
was both an indutus and an amictus ; 
which corresponds exactly with the 
description given by Pollux (vii. 
47. ) of the Greek female dress termed 
^vffTis, eudujud re bfxov, kou irepl^Arj/na, 
kciX xi-tuv. 5. All the other fashions 
of the palla, which are described 
and illustrated in subsequent para- 
graphs, have a positive affinity Math 
the preceding one, but have no re- 
semblance whatever to the pallium, 
for they are close dresses in the 
nature of a tunic or indutus. 6. 
When Seneca {Ira, iii. 22.) desig- 
nates a curtain by the term palla, he 
does not invalidate the accuracy of 
the above reasoning ; for, when the 
garment was removed from the body, 
it formed a large rectangular piece of 
cloth, as already explained. 7. In a 
variety of other passages where the 
word occurs, it is introduced without 
any characteristic adjunct or context 
to explain whether a sole covering, 
or an inner or outer garment, is in- 
tended. The above are some of the 
most obvious reasons which establish 
a conviction that the pallium and 




palla are not identical terms, and 
which help to confirm the accuracy 
of the interpretation here affixed to 
the latter word ; set out with extreme 
conciseness, it is true, as the nature 
of this work requires ; but it seemed 
incumbent, when departing from old 
established opinions, supported by the 
sanction of great names, to produce 
some authority for the innovation. 

2. Although the palla, when worn 
as a robe of state, was always a 
long dress reach- 
ing to the feet, as 
described in the 
preceding para- 
graphs ; yet it 
was sometimes of 
much shorter di- 
mensions, and ter- 
minated just above 
the knees, as is 
proved by written 
testimony, and ex- 
hibited in works 
of art. In this 
state it is given to the hunting 
nymphs attendant on Diana by Vale- 
rius Flaccus (iii. 525. summo pzlla 
genu) ; to Tisiphone by Ovid {Met. 
iv. 481.); and is so worn by the 
Furia, in the Vatican Virgil. The 
illustration, from a bas-relief of the 
Villa Borghese, shows a drapery 
made up and put on by means of a 
brooch on each shoulder, precisely 
similar to those exhibited in the 
former part of this article, with the 
sole exception in regard to length. It 
is supposed to represent a Spartan 
damsel dancing at the fetes of Diana, 
which were celebrated in one of the 
villages of Laconia, called Caria, at 
which dancing was one of the charac- 
teristic solemnities, and the costume 
worn would be naturally allusive to 
the goddess of the chase (Visconti, 
Mus. Pio-Clem. vii. 38, n.) ; who is 
herself represented, in a great number 
of statues, clad in a palla precisely 
similar to the one here exhibited, 
with the only difference of having 
a girdle on the outside, under the 



PALLA. 



bosom, to keep the drapery close to 
the person during the pursuit and ex- 
ertions of the chase. 

3. The palla worn by the ladies of 
Rome, though not exactly identical 
with the Greek one, yet possessed suffi- 
cient resemblance to it in all essential 
particulars to justify its being included 
in the same class of dresses with the 
one already described, and designated 
by the same name. Like that, it par- 
took of the double character of an 
indumenttyti and an amictus, being 
worn as a tunic, and over a tunic 
(Varro, L. L. v. 131. Hor. Sat. i. 2. 
99.), and adjusted to the person by 
clasps upon the shoulders in the same 
manner as explained 
in the two preceding 
paragraphs, with 
only this difference, 
that the upper part 
was not turned 
down to make a 
fall-over, because 
the tunic underneath 
it completely covered 
the bosom, and ren- 
dered such a protec- 
tion unnecessary. 
The annexed figure 
from a statue of the priestess Livia, 
found at Pompeii, illustrates all these 
particulars. The undermost gar- 
ment, which comes close up to the 
throat, and has sleeves looped down 
the fleshy part of the arm, is the 
under tunic, or stola (Hor. /. c. ) ; 
over this is seen the palla, with its 
back and front edges fastened toge- 
ther by clasps upon the shoulder 
points, in the same manner as the 
three preceding figures ; while a 
large veil or loose piece of drapery 
(amictus) is finally thrown over the 
whole, in the manner stated by Ovid 
[Met. xiv. 262.), and implied by 
Livy (xxvii. 4.), pallam pictam cum 
amiculo purpurea, where the diminu- 
tive expresses fineness of texture, not 
smallness of dimensions. The skirts 
of the palla are concealed by the 
outer drapery, so that its actual 




length cannot be ascertained ; but it 
probably did not reach much below 
the knee, in order not to hide the 
flounce (instita) of the stola, the 
! lower edges and plaits of which are 
seen over the feet, and on the ground, 
j In addition to all this, the lady with- 
out doubt wore a regular chemise 
i (tunica intima) next the skin, which 
would be entirely concealed by the 
over- clothing. Thus we may rea- 
I dily understand what Horace means 
(/. c. ) by contrasting the scanty ap- 
parel of immodest Avomen with the 
; dense barricades presented by the 
I attire of the virtuous and high-born 
females ; and the reason of the defi- 
| nition given by Nonius (s. v. p. 537. ) 
to the term palla — honestce mulieris 
vestimenium. 

4. The palla with which Isis is 
invested by Apuleius (Met. xi. p. 
240.) would appear from his words 
j to be a dress of a character totally 
different from those which have been 
thus far sufficiently authenticated by 
written as well as demonstrative evi- 
dence, had it not been for the exist- 
ence of a bas-relief in the Pio-Cle- 
j mentine Museum, representing a 
i priestess of Isis, as here annexed, 
whose costume corresponds so closely 
and minutely with the particular de- 
tails enumerated by 
Apuleius, as to leave 
no doubt that his de- 
scription was drawn 
from some well known 
artistic type, after 
which the figure here 
exhibited was also in a 
great measure model- 
led. It is here at once 
apparent that she wears 
j a palla exactly the 
; same in form and 
mode of adjustment as 
j the right-hand figure. 
; from the Pompeian statue, inserted 
above, over the outside of which 
there passes a broad scarf decorated 
with embroidered stars and half- 
moons, which is carried from under 




PALLA. 



PALLIOLATUS. 409 



the right arm, across the breast, and 
over the left shoulder, then turned 
down, so as to leave an end with 
fringes at its extremity depending in 
front ; the whole of which, as well 
as the ornamental details, are circum- 
stantially described in so many words 
by Apuleius. The obscurity of the 
passage arises from his giving the 
name of palla to the scarf only ; that 
is, he describes the part which forms 
so prominent a featui'e in the cos- 
tume, and attracts so much attention, 
under the name of the vest on which 
it was embroidered, or attached as a 
decoration. 

5, Palla citharcedica. The palla 
worn by musicians upon the stage ; 
whence frequently represented in 
works of art as an appropriate cos- 
tume for Apollo in his character of 
citharcedus and musagetes. This was 
a long flowing robe, with sleeves 
reaching to the 
wrists, and fastened 
with a broad girdle 
round the waist, the 
skirts of which fell 
over the feet, or 
sometimes trained 
upon the ground. 
It thus resembles 
in many respects the 
ordinary chiridota or 
tunica mankata, and, 
consequently, is men- 
tioned as an article 
of the indutus (Auct. 
ad Hcrenn. iv. 47. citharadus palla 
indutus. Compare Apul. Flor. ii. 
15. 2. where a robe precisely like 
the one here exhibited is minutely 
described) ; but it differs from the 
common tunic in this respect, that it 
was not made, like that, of one uniform 
width from top to bottom, but was 
narrow at the upper part over the 
chest and shoulders, gradually widen- 
ing downwards, until it became a 
loose and sweeping robe towards the 
feet, from which circumstance it pro- 
bably received the name of palla. 
All these particulars are conspicu- 




ously apparent in the annexed illus- 
tration, representing a statue of 
Apollo in the Vatican ; the loose 
drapery hanging behind from the 
shoulders is an amictus worn over 
the palla. In the original statue the 
arms are restorations, and the artist 
has given to them short sleeves, 
which are corrected for long ones in 
the present drawing, in accordance 
with other representations of the 
same subject, and more particularly 
of an ancient type in the arciiaic 
style of Greek sculpture (Wink. 
Mon. Ined. Vignette to dedication), 
which formed the original after which 
they are all more or less modelled. 

6. Palla Gallica. The Gaulish 
jerkin ; a short, close-fitting dress, 
slit up before and behind as high 
as the fork. (Mart. i. 93. compared 
with Strabo iv. 4. 3.) When adopted 
at Rome, it received the name of 
Caracalla, after the emperor who 
introduced the fashion of wearing it ; 
under which it is described and il- 
lustrated. 

PALLIAS'TRUM. An augmen- 
tative of pallium ; the augmentative 
indicating coarseness of texture, and, 
consequently, an inferior article worn 
by the poorer classes, and certain phi- 
losophers who affected severity of at- 
tire. Apul. Flor. ii. 14. Met. i. p. 4. 

PALLIA'TUS. Wearing the 
Greek pallium; thence, by implica- 
tion, dressed as a Greek; for, the 
word is opposed in Latin to togatus ; 
that is, to a Roman, whose national 
costume was the toga. (Plaut. Cure. 
iii. 2. 9. Cic. Rabir. Post. 9. Suet. 
Jtd. 48. Claud 15.) The illustra- 
tions s. Pallium and Toga will at 
once explain the difference. 

PALLIOLA'TUS. Wearing the 
palliolum upon the head, as explained 
and exhibited in the following word 
and illustration. Suet. Claud. 2. 
Mart. ix. 33. 

2. Palliolata tuniea. (Vopisc. Bo- 
nos. 15.) Like tuuico-pallium, another 
expression or gloss for Palla, 
which see ; and appropriately em- 



47 O PALLIOLUM. 



PALLIUM. 



ployed, because the upper part of 
the piece of drapery which formed 
the tunic, was turned down in such a 
manner that it resembles a palliolum 
over the shoulders and bosom, in- 
stead of the head, as is plainly shown 
by the figures under Palla, i. 

PALL'IOLUM. A diminutive of 
pallium ; consequently, used in a 
general sense for any mantle of ordi- 
nary quality, small dimensions, of 
fine texture, adjusted and worn in the 
same manner as the pallium. Plaut. 
Epid. ii. 2. 12. Cic. Tusc. iii. 23. 

2. (depicTTpio!/, probably). A square 
cloth, doubled and adjusted to the 
head, like a veil 
or cap ; and worn 
as a protection 
against the wea- 
ther, especially 
by invalids (Ov. 
A. Am. i. 733. 
Quint, xi. 3. p. 



443- 



torn. 




Spalding. ), and females of advanced 
age, as shown by the annexed 
example, representing the head of an 
old nurse, in a maible bas-relief. 

PALLIUM {ln&riov, (papos). The 
principal article of the Greek amictus, 
or outer object of their apparel, as 
the toga was of the Romans. (Quint, 
xi. 5. 143. Suet. Tib. 13. Liv. xxix. 
19.) It consisted of a large sheet or 
blanket, made of wool, and of a square 
or oblong square form (Pet. Sat. 135. 
4. Tertull. de Pall. 1. Athen. v. 50.), 
fastened round the neck or on the 
shoulder by a brooch ( fibula, Ter- 
tull. /. c. ), and sometimes worn over 
the naked body as the only covering, 
but more commonly as an outside 
mantle over the tunic. (Plaut. Ep. 
v, 2. 59. Cic. Verr. ii. 5. 52.) A 
garment of this nature might be ad- 
justed upon the person in various 
ways, according as the fancy of the 
wearer or the state of the atmosphere 
suggested ; and, as each arrangement I 
presented a different model in the set j 
and character of its folds, the Greeks 
made use of a distinct term to cha- 




racterize the particular manner in 
which it was put on, or the appear- 
ance it presented when worn. Of 
these the most important are the fol- 
lowing : — 

1. £ivi$\f)ixa. Meaning literally, 
that which is thrown on or over, de- 
signates the pallium when worn in 
the simplest manner ; i. e. when the 
centre of one of its sides was merely 
put on to the back 
of the neck, and 
fastened round the 
throat, or on one 
shoulder, by a 
brooch, so that all 
the four corners 
hung downwards 
in" the manner ex- 
hibited on the 
annexed figure, 
representing a 
Greek soldier in 
his travelling 
dress, from a fic- 
tile vase. 

2. ava&oX-f)- Meaning, in a literal 
sense, that which is thrown up, desig- 
nates the pallium 
when adjusted in 
a manner similar 
to the old style of 
wearing the toga ; 
i. e. when the part 
which hangs down 
on the right side 
of the preceding 
figure, was taken 
up, and cast over 
the left shoulder, 
so that it would 
depend at the 
back of the wearer, 
as represented by the annexed exam- 
ple, from the celebrated statue of 
Aristides in the Farnese collection. 
When thus worn, the brooch was 
not used ; and the blanket, instead of 
being placed on the back, at the mid- 
dle of its width, was drawn longer 
over the right side to allow sufficient 
length for casting on to the opposite 
shoulder ; the right arm likewise 




PALLIUM. 



471 



was raised up and kept on a level 
With the chest, forming, as it were, a 
right angle (Quint, xi. 3. 141. ), and 
having only the hand exposed ; all 
of which particulars are plainly per- 
ceivable in the illustration. At the 
same time both skill and attention 
were required to adjust the garment, 
so that it should sit firmly and grace- 
fully upon the body, which was 
considered as a mark of elegance, if 
well arranged, or awkwardness, if 
otherwise. Plato. Thecet. 175. Com- 
pare Aristoph. Av. 1565. 

3. Trepi^\r]fj.a, irepi&oXaiov. Mean- 
ing, in a literal sense, that which 
is thrown round 



one, designates the 
pallium when so ad- 
justed as completely 
to envelope the 
wearer all round 
from head to foot, 
in the maimer shown 
by the annexed ex- 
ample, from a fic- 
tile vase. In this 
method the blanket 
was put on, and a 
part thrown over 
the shoulder, the 
same as in the last 




stead of the hand being exposed, and 
an opening or sinus left in front of 
the chest, the end thrown over the 
shoulder was drawn up tight under \ 
the chin, which gave a greater length | 
to the part depending behind. The ! 
right arm was sometimes kept up in 
a similar position to the preceding ; i 
or it might be dropped down at the j 
side, under the drapery, which fixed 1 
itself on the body by its own close | 
folds, as it is repi-esented in the illus- j 
tration, in which the projection ob- i 
served midway in front of the figure 1 
is produced by the hand being slightly i 
elevated ; but in either case the 
whole of the arm, as well as the 
hand, is completely covered by the 
drapery. The Romans indicated 
this confinement by the expression 



manum intra pallium continere (Quint, 
xi. 3. 138.), or intra pallium reducere 
(Val. Max. vi. 8. Ext. I.) : and the 
Greeks by a similar one — ivrbs tt\v 
X*ipa zx €lv (^Eschin. in Timarch. 52. 
Demosth. dc Fals. Leg. p. 420. 10. ) ; 
which was considered a becoming 
practice for young persons, as charac- 
teristic of a quiet, modest, and re- 
spectful demeanour. 

4. Women also wore the pallium 
(Pet. Sal. 135. 4. Horn. Od. v. 230.) as 
well as men, and adjusted it upon 
their persons with the same varieties 
that have been already described, as 
evinced by numerous works of art 




both in sculpture and painting. The 
illustration annexed, from a fresco 
of Pompeii, represents two females 
in the pallium, the one on the left 
having it adjusted in a manner simi- 
lar to that exhibited by the statue 
of Aristides, introduced above ; while 
the right hand one, by raising her 
arm over her head, has drawn away 
the end previously cast over her left 
shoulder, and allowed the opposite 
side to slip off from her back ; but the 
two together afford a good notion of 
the manner in which the drapery was 
put on and arranged. The only dif- 
ference, when there was any, between 
the pallium of a male and female, con- 
sisted in the difference of texture and 
variety or brilliance of colour, the 
finer material and gaudier tints being 
naturally selected by the women ; but 
amongst persons of slender means the 
wife would sometimes wear her hus- 
band's blanket ; — a piece of economy 
which the wife of Phocion practised, 



472 PALLULA. 



PAL UD AMENTUM. 



but to which Xantippe, the wife of | 
Socrates, refused to submit. iElian. j 
Var. Hist. vii. 9. and 10. 

5. In a more general sense the I 
name is given to any large rect- j 
angular piece of cloth, employed for j 
covering various objects ; as, a pall j 
laid over a bier (Apul. Flor. i. 4.) ; a 1 
counterpane or blanket for a bed 
(Juv. vi. 236 ) ; a warm sheet to 
wrap in after the bath (Pet. Sat. 28. 
2.) ; a curtain for a room (Prudent. 
ad Synim. ii. 726) ; &c. 

PALL'ULA. Plaut. True. i. 1. 
32. Diminutive of Palla. 

PALMA {irahdix-n). The palm of 
the hand ; thence, from its resem- 
blance, the broadest part or 'blade of i 
an oar {rapaos). Vitruv. x. 3. 6. 
Catull. 64. 7., and woodcuts s. Pes 
and Proketa. 

2. ((po'ivi^). The palm tree [phos- j 
nix daetylifera), regarded amongst the j 
ancients as an 
emblem of vic- 
tory, in conse- 
quence of the 
great elasticity 
and power of re- 
sistance, without 
breaking, pos- 
sessed by its 
wood. (Aul. Gell. 
iii. 6.) Hence 
it was frequently employed by sculp- 
tors and medalists to indicate the j 
conquest of a province, as in the j 
annexed example, from a medal of j 
Trajan. 

3. A palm branch, or, as we say, j 
the palm of victory ; for both the ' 
Greeks and Romans bestowed palm j 
branches upon successful champions j 
amongst the military combatants in j 
athletic games, and on drivers in the j 
race course (Liv. x. 49. Cic. Brut, j 
47. Hor. Od. iv. 2. 17.) ; hence, in j 
works of art, wherever any object is i 
seen with a palm branch upon it, or ! 
by its side, or a figure with one in j 
the hand, it implies that the object j 
has been presented as a prize to some I 
victor, and that the person so repre- | 



sented is himself the successful cham- 
pion ; as the annexed figure, from a 
statue representing a victorious driver 





in the Circus, who holds a palm 
branch in his right hand, and a purse 
of money contain'ng the prize (bra- 
beum, iselasticum) in his left. 

PALMA'TUS. Tunica palmata. 
See Tunica. 

PAL'MULA (Tapaos). Diminu- 
tive of Palm a. The blade of a small 
oar. Catull. iv. 4. 

PALUDAMEN'TUM. A mili- 
tary cloak worn by generals and su- 
perior officers over their armour 
(Isidor. Orig. xix. 24. 9. Apul. 
Apol. p. 441.), as the sagum was by 
the common soldier, from which it 
mainly differs in being larger, of 
finer texture, and richer colour, 
either a brilliant white, scarlet, or 
purple. (Val. Max. 
i. 6. 1 1. Isidor. /. c. ) 
On the other hand, 
it was not so large 
as the Greek pal- 
lium, for in all the 
numerous instances 
where it occurs on 
the triumphal arches 
and columns, it is 
never thrown over 
the shoulder, nor 
round the figure ; 
that is, it is always 
never an avafioX-r), nor 
being only worn as a pendant mantle, 
in the manner shown by the annexed 




an iiTL^K-r)ixa, 
a TrepifiXriixa ; 



PALUDATUS. 



PA NCR A Tl UM. 473 



example, representing the emperor 
Trajan, from the column which 
bears his name. It was fastened by 
a brooch {fibula) upon the shoulder ; 
and though somewhat larger, was cut 
out in the same shape as the Greek 
chlamys (Non. s, v. p. 538.) ; whence 
the later Greek writers translate the 
Latin word paludamentum by that 
term. Dio. lx. 30. compared with 
Plin. H. N. xxxiii. 19. 

PALUDA'TUS. Wearing the 
paludamentum, as explained and illus- 
trated by the preceding article and 
example : but in most cases with a 
notion specially implied that the per- 
son so habited was engaged in mili- 
tary service (Cic. Fam. xv. 17. Suet. 
Vit 11. Claud. 21.) ; during which 
the toga or garb of peace was relin- 
quished for the military mantle or 
paludamentum. Isidor. Orig. xix. 24. 4. 

PA'LUS {Trdtro-aKos). In a general 
sense, any pale or stake driven into 
the ground as a support or fixture for 
other objects to rest upon ; and espe- 
cially a pale, set up for the exercise 
and practice of gladiators and the 
Roman soldiery, which they were 
made to attack with a discharge of 
missiles from a distance, or with 
wooden swords at close quarters, in 
order to learn the exercise, and ac- 
quire the habit of taking a just aim 
at any' particular part of the body 
Juv. vi. 247. Veg. Mil. i. II. Id. 
ii. 23. 

PAMMACHTUM {n ai ufxd X iop). 
Hygin. Fab. 273. Same as Pan- 
cratium. 

PAN'ACA. (Mart. xiv. 100.) A 
kind of drinking cup of which nothing 
characteristic is known ; but the word 
only occurs as the title to the epigram 
cited, and, in consequence, is not used 
by Martial himself ; for the headings 
to his epigrams were affixed by a later 
hand. 

PANA'RIOLUM. Diminutive of 
Panarium ; a small bread-basket. 
Mart v. 49. 

PAN A'RIU M (apToOriKr)). A 
bread pantry, in which the bread for 



a household was kept. Varro, L. L. 
v. 105. 

2. A bread basket for transport 
j from place to place. Plin. Ep. i. 6. 
1 3. Suet. Cal. 18. 
j PANCRAT'IAS and -AS'TES 
{■Ka.yKpa.Tia<n7)s). One who contends 
in the Pancratium. Aul. Gell. iii. 15. 
xiii. 27. See the next word and 
illustration, 
j PANCRATIUM {Tro.yKp6.Ttov). 

An athletic contest of Grecian origin, 
j which also became popular at Rome, 
! after the time of Caligula. It com- 
bined both wrestling and boxing with 
the naked fists, but not with the cces- 
tus ; the combatants being allowed to 
make use of any means for worsting 
an opponent, by blows, throwing, 
S kicking, or tripping, and to continue 
I the contest on the ground, even when 
both had fallen, and until one of them 
was killed, or acknowledged himself 
to be vanquished. They fought 
naked, had their bodies sprinkled 
with fine sand {/iap/ie), and their hair 
drawn up backwards from the roots, 
and tied in a tuft on the occiput 
{cirrus in ve?'tice), to prevent an an- 
tagonist from seizing hold by it ; 
most of which particulars are ex- 
emplified by the illustration, repre- 




senting a pair of Greek pancratiastcz, 
from a bas-relief in the Vatican. 
Both figures have their hair tied up 
in the manner described ; the one on 
the left also uses his fist as a boxer, 
whilst the right hand one attempts to 
trip up his adversary by hooking his 
leg forward and pushing the body 



474 



PANDURA. 



PANTOMIMUS. 



back, as still practised by our wrest- 
lers. Prop. iii. 14. 8. Quint, ii. 8. 
13. Aristot. Rhet. i. 5. 14. 

PANDU'RA (irauBovpa). A musi- 
cal instrument, the precise character 
of which is not known. According 
to Pollux (iv. 60.) it was a stringed 
instrument with three chords ; and 
the guitar is still called by the same 
term, " la pandura" in Tuscany ; but 
Hesychius {s. ovpiyyes) makes it the 
same as the pan-pipes. To play upon 
it was expressed by the word pandn- 
rizo. Lamprid. Ring. 32. 

PAN1S {apros). Bread ; a loaf of 
bread ; binos panes, two loaves (Plaut. 
Pers. iv. 3. 2.); mollia panis, the 
crumb (Plin. H. N. xiii. 36.) ; panis 
crusta, the crust (Id. xxix. 23.). The 
illustration represents some loaves as 



by one. (Prudent, in Symm. i. 584. 
Id. ii. 984. Cod. Theodos. 14. 17. 3. 
and 4. ) The whole process is shown 
by the illustration, from a medal of 

1 Nerva ; on the left hand sits the em- 

; peror in person upon a curule chair 

1 placed on the top of an elevated plat- 
form (snggestitw) ; in front of him is 
the relieving officer giving the bread 
to a citizen ascending the steps, while 

j another figure behind him holds up 
for the emperor's inspection the billet 

j containing the order handed in by 
the recipient. 

PANTOMI'MUS (ttovtoVmos). A 
word first used in Italy about the 

j time of Augustus to designate a per- 
former on the stage, corresponding 
with the ballet or opera dancer of the 

! present day, who represented a part 




they were discovered in a baker's 
shop at Pompeii ; they are about 
eight inches in diameter, have a crust 
at top and bottom, are scored above, 
and one has a stamp upon the top. 

2. Panis gradilis. Bread distri- 
buted gratuitously to the people, 
from the top of a 



Mi 



1 



flight of steps, as 
a largess from 
the emperor. 
For this purpose 
flights of ' steps 
were erected in 
different parts of 
the city contigu- 
ous to the bakers' 
shops, and each person who had ob- 
tained a billet or order {tessera) as- 
cended the steps in turn, and there 
received the donation from the dis- 
tributing officer in change for his 
ticket ; the plan being adopted as a 
means of preventing frauds and mob- 
bing, by only admitting the recipients 
to come up in regular order, and one 




by dancing and dumb show, or, as 
the term implies, by all sorts of con- 
ventional signs and mimic gestures, 
without the aid of the voice ; thus 
constituting a distinct class from the 
actor of comedy or tragedy. He wore 
a mask, and was dressed in a costume 
appropriate to the character imper- 
sonated, but studiously designed with 
the view of exhibiting his personal 
beauty and bodily development to 
the greatest advantage (though often 
indelicately scanty, according to our 
notions of propriety) ; considering 
that love stories and bacchanalian 
and mythological subjects furnished 
the majority of characters for the 
exercise of his art. Hence the scan- 



PA N UCELL I U M. 



PARASTAS 475 



dal and corruption of morals super- 
induced by the ballet dancers of 
Rome compelled several of the empe- 
rors to banish them at various periods 
from Italy. (Macrob. Sat. ii. 7. Suet. 
Aug. 45. Nero, 16. Tac. Atm.'vr. 14. 
xiii. 25. Plin. Paneg. xlvi. 4. Cassio- 
dor. Par. Ep. i. 20. ) The paintings 
of Pompeii exhibit numerous ex- 
amples of this class of stage perform- 
ers, from one of which the annexed 
illustration is copied ; all more or 
less bearing testimony to the accuracy 
of the preceding account ; yet proving 
by the originality and grace with 
which the groups are composed, the 
variety of the poses, the display of 
muscular power exhibited in the atti- 
tudes, and the animal beauty in re- 
spect of bodily form which distin- 
guishes the performers, that the 
ancient Italians, or the Greek artistes 
employed by them, far excelled, in 
professional dexterity and graceful- 
ness (its most essential requisite), the 
dancers of the operatic ballet in 
modern times. 

PANUCEL'LIUM. This word 
is written in seven different ways ; as 
uncertain as the meaning attached to 
it. Some suppose it to mean a spool 
or bobbin ; others, a shuttle with the 
bobbin inserted, like the example s. 
Alveolus. Varro, L. L. v. 114. 
Compare Isidor. Orig. xxix. 7. 

PAPIL'IO. In its primary sense, 
a butterfly; whence the name was 
transferred to a mi- 
litary tent, either 
because the cur- 
tains with which it 
was closed in front, 
when set open, were 
fastened up at the 
sides in such a 
manner as to present 
an appearance like 
the wings of a but- 
terfly, as observable 
in the annexed ex- 
ample, from the co- 
lumn of Trajan ; or, possibly, be- 
cause it was made of richer materials 




and more varied colours than the 
common tent {tentorium). Lamprid. 
Alex. Sev. 51. Spart. Pescenn. 1 1. 
Veg. Mil. i. 3. 

PAR/ADA. Believed to be a 
Gaulish word, indicating either an 
awning over the deck of a vessel; 
or, which seems more probable, a 
private and state cabin for the use of 
persons of wealth or distinction. 
Auson. Ep. v. 27. Sidon. Ep.Vm. 12. 
Jal. Archeologie Navale, vol. ii. p. 362, 
PARAGAU'DA or PARAGAU'- 
DIS. An ornamental band of gold, 
or of coloured 
silk decorated 
with golden em- 
! broidery, sewn 
on to the tunic; 
whence the gar- 
ment itself so 
J decorated is also 
designated by 
the same term. 
It appears to 
have been a 
fashion intro- 
duced under the 
empire, as a sort 
I of substitute for the more ancient 
i clavus, as the word only occurs 
j amongst the writers of that period; 

and was distinguished by the epithets 
j viojioloris, dilons, triloris, pentaloris, 
according to the number of bands,' 
one, two, three, four, or five, attached. 
\ (Vopisc. Aurel. 46. Impp. Grat. Va- 
i lent, et Theodos. Cod. n. 8. 2.) 

The annexed figure, from an ancient 
\ Roman fresco discovered near the 
I church of St. John in Lateran at 
! Rome, is introduced as affording a 
! notion, and probable specimen, of the 
ornament in question. 

PARASTAS, PARAS'TATA, 
PARASTAT'ICA (Trapaards, irapa- 
<rraT7]s, Trapa.o-Ta.TiK7)). A flat column 
or pilaster, used to decorate the angu- 
lar terminations of a square building, 
where it has two faces, as in the 
annexed elevation of the temple of 
Pandrosus at Athens, in which the 
parastas is seen behind the last figure 




476 PARAZONIUM. 



PARIES. 



on the extreme left ; or placed against 
the walls of the cell [cella), with one 




fiat face that corresponds with an 
opposite column which supports the 
entablature of a colonnade. Vitruv. 
v. I. 

PARAZO'NIUM {Trapa(uviov). 
A short sword, attached to a belt 
round the waist {cine- 
toriutu), as exhibited 
by the annexed figure, 
and worn at the left 
side by the tribunes 
and superior officers of 
the Roman armies, 
more as a mark of dis- 
tinction than for actual 
use (Mart. • xiv. 32. 
August. Dial. Antiq. 
2. and wood-cuts s. 
Legatus and Palu- 
damentum) ; whereas 
the glaive of the com- 
mon soldier (g/adius) 
was suspended from a shoulder band 
{battens), and hung at the right side 
(wood-cut s. Legionarii). 

PAR'IES (toT X os ). The wall of a 
house, or other edifice, as contradis- 
tinguished from mums, the wall of a 
town. These were made of various 
materials, and constructed in many 
different ways ; amongst which the 
following are distinguished : — 




1. Fanes cratkius. A wall made 
of canes and hurdles, covered with a 
coating of clay, something like our 
lath and piaster ; used in early times 
for an external Avail, and subsequently 
for a partition in the interior of 
a house. Vitruv. ii. 8. 10. Pallad. 
i. 9. 2. 

2. Paries formaceus. A kind of 
walling now termed pise, made of 
very stiff clay, rammed in between 
moulds as it is carried up, of very 
frequent occurrence at the present 
day in France, and in ancient times 
amongst the inhabitants of Africa, 
Spain, and the southern parts of 
Italy. Pirn. H. N. xxxiv. 48. 

3. Paries latericius. A wall made 
of bricks ; which was constructed in 
many different patterns, as the art of 
building progressed and declined. 
When the arts- were in the greatest 
perfection, the bricks used were very 
large and thin, and of considerable 
size, resembling our tiles (see 
Later), and were laid in regular 
even courses throughout. During 
the intermediate periods the bricks 
diminished in surface, but increased 
in thickness ; and the walls were 
commonly constructed with a mixture 




of different sized bricks laid in alter- 
nate courses, so as to produce a pleas- 
ing pattern to the eye, although it 
was frequently concealed by a coating 
of stucco laid over it, of which the 
annexed example, representing the 
structure employed in the entrance 
gate to Pompeii, will afford a distinct 
notion. It shows the admixture of 
thick and thin bricks, as well as the 



PARIES. 



PARMA. 



477 



external cement still remaining on 
some part of it, which has been di- 
vided into rustic work to imitate a 
stone wall. During the decadence 
the bricks were smaller and thicker, 
like the largest ones in the example, 
and frequently of irregular sizes. 
Cees. B. C. ii. 15. Vitruv. ii. 8. 16. 

4. The different methods adopted 
in forming walls of stone are ex- 
plained and illustrated s. C.ementi- 
cius and Structura. 

5. Paries sclidus. (Cic. Top. 4. ) A 
blank wall, without any opening in it, 
as contradistinguished from 

6. Paries fornicatus. A wall per- 
forated with arched openings, as in 
the annexed example, representing 
part of the Imperial palace on the 



very strongly made upon a frame- 
work of iron. The annexed example 





■mm if 



Palatine hill. The object of this 
was to save consumption of material 
without diminishing solidity by the 
lightness thus given to the entire 
structure. Cic. Top. 4. 

7. Paries communis. The common 
or partition wall between two con- 
tiguous edifices, which was common 
to both of them. Cic. Top. I. c. Ov. 
Met. iv. 66. 

8. Paries intergericius or inter^e- 
rivus: (Plin. H. N. xxxv. 49. Fes- 
tus, s. v. ) Same as the preceding. 

9. Paries directns. A wall of par- 
tition within an edifice, separating 
one chamber from another. Cic. /. c. 

PARMA (7ra Pi u7?). The shield 
used by the light-armed troops [ve- 
lites, Liv. xxxi. 35.) and the cavalry 
{equites, Liv. ii. 20. ) of the Roman 
army. It was circular in form 
(Varro, ap. Non. s. Veles, p. 552.), 
about three feet in diameter (Liv. 
xxxviii. 2:1* Polyb. vi. 22. 19.), and 



I is copied from a bas-relief in terra- 
cotta ; and corresponds in every 
particular of form and ornament 
I with the shields of the equestrian 
j gladiators at p. 264. s. Eques, 10. 

2. Parma Threcidica. The Thra- 
cian shield, or the shield used by 

j gladiators of the 

] class termed 

I Thracians( Thra- 

\ ces). This was 
not round, like 

\ the Roman par- 

\ ma, but resem- 

i bled the scutum 
in form, with the 

i only exception 

j of being smaller ~ 

j as well as short- 
er, as exhibited by the annexed ex- 

| ample, which represents a Thracian 
gladiator from a terra-cotta lamp. 

j Hence it is that Martial styles it 

\ pumilionis scutum (xiv. 213.). Plin. 

: H. N. xxxiii. 45. Fabretti, Col. Tr. 

j p. 267. and Peltast.e. 

3. The small round piece of board 
placed under the vent hole of a pair 





of bellows, which opens to admit the 
air, as it is drawn in, but closes 
against the aperture immediately 
that the sides of the bellows are 
pressed together, and thus compels 
the wind to make an exit through 
the pipe at the nozzle. Auson. Mo- 
sell. 269. 



FASTI NUM. 

metals. Though the Latin pas- 
sages in which the word occurs do 
not afford any express indication of 
the precise form of the vessel, we 
collect from Alciphron, that it was a 
deep bowl with a wide top, such as 
we conceive under the name of cup ; 
for he designates the one used by 
thimble-riggers by the name par- 
opsis, for which the more usual 
Latin term is Acetabulum. The 
illustration introduced under that 
word may consequently be received 
also as affording a specimen of the 
paropsis. Chans, i. 82. juv. iii. 
142. Mart. xi. 27. Pet. Sat. 34. 2. 
Ulp. Dig. 32. 220. Alciphron. Epist. 
iii. 20. 

PAS'CEOLUS (<£cW>Aos and 
(pdcwaXos). A bag or pouch, made 
of leather, and employed for carry- 
ing money, clothes, &c. Non. s. v. 
p. 151. Plaut. Rud. v. 2. 27. Lucil. 
Sat. xiii. 6. Gerlach. 
tive denotes any distinct variety. PASTIL'LUS {rpoxla-Kos). A 

PARMULA'RIUS. A gladiator, ; small round ball of flour or other in- 
of the class called Thracians ( Thra- \ gredients ; but more especially a pill 
ces) ; and so designated because he | or pastile of medicinal and odoriferous 
was armed with the Thracian parma, powder, which was chewed to impart 
as explained and illustrated s. Parma, sweetness to the breath, or employed 
2. Suet. Dam. 40. generally for the purpose of diffusing 

PAR'OCHTJS {irdpoxos). An off- an agreeable odour. Plin. H.N. 
cer appointed to eveiy station through- ! xiii. 43. Hor. Sat. i. 2. 27. 
out the Roman provinces, who for a j PASTINA'TIO. The act of pre- 
certain stipend, fixed by the state, ! paring the soil of a vineyard by 
undertook to lodge and entertain am- \ digging and trenching for plant- 
bassadors, magistrates, and persons j ing young vines with the pastinum. 
travelling on public business. Cic. ! Columell. iii. 12. 6. Compare iii. 
Att. xiii. 2. Hor. Sat. i. 5. 46. ! 13.; thence the ground so prepared. 

PAROP SIS or PARAP'SIS (Trap- j Id. xi. 2. 
o\pls). A term adopted from the j PASTINA'TOR. A labourer 
Greeks, and used by them, as well j who trenches the soil of a vineyard, 
as the Romans, much in the same and plants the ycung vines with a 
sense as the word side-dish is with pastinum. Columell. iii. 13. 12. 
us ; under which the dish itself is j PAS'TINUM. A particular kind 
sometimes implied, at others the ; of dibble employed for planting young 
viands contained in it, while at others j vines, consisting of a long stick with 
both the dish and its contents are in- ; two prongs at the end, between 
eluded. The paropsis was employed i which the young shoot was held, as 
for serving up the smaller and more j in a forceps, and by this means de- 
exquisite portions of a meal, like j pressed into the ground to the depth 
a French entree; and was made of i required. (Columell. iii. 18. 1. and 
earthenware, bronze, or the precious 1 6. Isidor. Orig. xix. 15.) An in- 



478 PARMA TUS. 



FARM AT US. Armed with the 
shield termed parma ; more espe- 
cially charac- 
teristic of the 
Roman caval- 
ry and light - 
armed troops. 
(Liv. iv. 38.) 
The annexed 
example, from 
a bas-relief 
in terra-cotta, 
compared with 
the illustra- r 
tion s. Clipe- t ~ 
ATUS, will afford a notion of the dif- 
ference in comparative size and cha- 
racter between the Roman parma 
and the Greek clipeus, and of the dif- 
ferent appearance presented by the 
men who bore them respectively. 

PAR'MULA. (Hor. Od. ii. 7. 
10.) Diminutive of Parma ; but 
there is no evidence that the diminu- 




PASTUPHORUS. 



PA TELLARII. 479 




strument of the same kind, called 
irivella by the Romans, and cruccia 
by the Tuscans, is still employed for 
a similar purpose in Italy. 

2. Ground prepared by digging 
and trenching for the planting of 
young vines with the above imple- 
ment (Pallad. Feb. 9. 11.); and the 
act of doing so (Id. Jan. 10. 1.). 

PASTOPH'ORUS {TTa<JTo<p6pGs). 
A member belong- 
ing to a certain 
order of the Egyp- 
tian priesthood 
called pastophori, 
because they car- 
ried the images 
of their . deities 
through the public 
streets in a small 
case or shrine 
(iratTTOs, thalamus. 
Plin. H. N. viii. 
71.), stopping at intervals to kneel 
down, while they displayed the image 
case before them, for the purpose of 
eliciting charitable donations from 
the multitude ; all which particulars 
are apparent in the annexed illus- 
tration from an Egyptian statue, re- 
presenting one of these mendicant 
priests. Apul. Met. xi. pp. 250. 
260. 262. 

PASTOR {uo/jlsvs), A general 
term for any one who attends to the 
pasturing and feeding of any kind of 
live stock (Varro, R. R. ii. 10. Hor. 
Od. iii. 29. 21.); consequently, in- 
cluding the caprarius, opilio, and 
bubulcus ; though, in some instances, 
the word is specially applied to the 
two former to distinguish them from 
the latter. Juv. xi. 151. 

2. The same name is also given to | 
a person who tends and feeds poultry. 
Columell. viii. 2. 7. 

P A T A G I A' R I U S. One who 
makes, or, perhaps, sells, patagia. 
Plaut. Aid. iii. 5. 35. 

PATAGIA'TUS. Decorated 
with a patagium, as shown by the 
following illustration. Festus, s. v. 
Plaut. Ep. ii. 2. 49. 




PATAGI'UM {irarayit 
broad stripe of 
purple or gold 
upon the front of 
a woman's tunic, 
similar to the 
clavus of the other 
sex, as shown by 
the annexed ex- 
ample, from a 
fresco painting in 
the sepulchre of 
the Nasonian family near Rome. 
Festus, s. v. Non. s. v. p. 540. 

PATEL'LA. Diminutive of Pa- 
tina ; consequently, resembling that 
vessel in form, with the exception of 
being smaller or shallower. It was 
used in the kitchen as a cooking 
utensil (Mart. v. 78. Varro, ap. 
Prise, vi. 681.), and in the dining- 
room as a dish for the viands brought 
to table (Mart. xiii. 81. Juv. v. 8.5.). 
The ordinary kinds were made of 
earthenware, the more costly of metal 
and elaborate workmanship ; and also 
of different relative sizes, conformable 
to the use for which they were in- 
tended ; hence we find the word, 
though itself a diminutive, accompa- 
nied with epithets descriptive of very 
different dimensions ; as, exigita, mo- 
dica, lata, grandis. Juv. /. c. Hor. Ep. 
i. 5. 2. Mart. /. c. Cic. Verr. ii. 4. 21. 

2. Patella Cumaua. A dish of the 
nature last described, but made of 
earthenware, and consequently of a 
common description. Mart. xiv. 
114. Compare Juv. vi. 343. 

3. A dish of the form and character 
above described, in which solid viands 
were offered as a feast to the gods, as 
contradistinguished from the patera, 
which held liquids only. (Festus, 
s. v. Varro, ap. Non. s. v. p. 544-) 
A person would have been regarded 
as highly irreligious who appropri- 
ated one of these dishes to the ser- 
vice of his own dinner table. Cic. 
Fin. ii. 7. 

PATELLA'RII, sc. Dii. A 
term of derision applied to the gods 
by certain wits of" irreverent dispo- 



480 PATEN A. 



PATINA. 



sitiorts, suggested by the images of 
the various deities which were en- 
chased upon the dishes {patella:) em- 
ployed for holding the viands pre- 
sented to them at their feasts. Plaut. 
Cist. ii. 1. 46. Compare Cic. Verr. 
iv. 21. 22. Becker, Qucest. Plaut. 
p. 50. 

PATE'NA ((pdruri). A manger 
for horses, made of marble, stone, or 
wood, and divided into a number of 
separate compartments or cribs (/<?- 
culi), like the annexed example, re- 





9511! 







presenting the interior of an ancient 
stable in the bay of Centorbi in 
Sicily, which is divided into square 
receiving troughs, precisely as di- 
rected by Vegetius ( Vet. ii. 28. 3. ). 
2. See Patina. 

PATERA (<pLd\ v ). A shallow 
circular vessel, like our saucer, em- 
ployed for containing liquids, not 
solids, that is, as a drinking, not an 




eating utensil (Becker, Qucest. Plaut. 
p. 50. ) ; but more especially used to 
receive the wine with which a liba- 
tion was made, by pouring it from 
the patera, over the head of the vic- 
tim, or on to the altar (wood-cut s. 
SponDAULES). The common quali- 
ties were made of earthenware, the 
more costly of bronze, silver, and 
also gold, highly and elaborately or- 
namented ; sometimes with a handle, 
but more usually plain. The illus- 



tration affords a specimen of both 
j kinds, from originals in bronze dis- 
j covered at Pompeii ; and represented 
j in front and profile, in order to show 
j the circumference and depth of the 
j vessel. Varro, L. L. v. 122. Macrob. 
I Sat. v. 21. Virg. sEn. i. 739. Ov. 
| Met. ix. 160. 

j PATIBULA'TUS. Fastened to 
j the patibuhtm as a punishment. Plaut. 
i Mil. ii. 4. 7. Apul. Mel. iv. p. 70. 
i where patibulus is used in the same 
j sense, 

I PATIB'ULUM. An instrument 
j of punishment made in the shape 
of a fork, to be placed upon the 
neck of slaves and criminals, with the 
I two prongs projecting in front, to 
! which their hands were tied up, and 
I in that condition flogged through the 
j city. (Plaut. Mil. ii. 4. 7.) The il- 
j lustration s. Furca, 5. will afford a 
! clear notion of the contrivance in 
j question, although it is there used only 
j as a machine for carrying burdens, 
j 2. A cross or gallows ; probably in 
j the shape of the letter X, forming a 
double furca, like that on which the 
crucifixion of St. Peter is commonly 
represented by Italian artists. Sallust, 
Fragm. ap. Non. s. v. p. 366. Senec. 
Cons, ad Marc. 20. Apul. Met. vi. 
pp. 130, 131. 

3. A fastening for a door, probably 
made with two prongs to fit into a 
hasp. Titinn. ap. Non. /. c. 

4. A wooden peg, with two prongs 
for fastening down the layers of a 
vine. Plin. H. A 7 , xvik 35. § 27. 

PAT'INA (teK&vri). A bowl or 
basin, somewhat shallower than the 
olla, but deeper than the patera, as 
will be understood by comparing the 
examples introduced under those two 
words with the annexed specimen, 
from an original discovered in a 
tomb at Psestum. ^^^^^ ^^^ 
It was generally ^ ^ml 
made of earthen- ^-gpp F 
ware, but some- 
times, though rarely, of metal ; fre- 
quently had a lid {opercttlum) to cover 
it ; and was used for a great many 



PAUSARIUS. 

purposes, more especially in culinary 
and pharmaceutical operations, as 
well as for bringing to table ragouts, 
stews, and such, eatables as were 
served with gravy, for which the 
form described would be particularly 
appropriate. Plaut. Pseud, iii. 2. 51. 
Plin. H. N. xxiii. 33* -Phasdr. xxvi. 
3. Hor. Sat. ii. 8. 43. 

PAUSA'RIUS. (Senec. Ep. 56.) 
The officer who gave out the chaunt 
(ce/eusma), and beat the time, by 
which the rowers kept their stroke ; 
also styled Hortator, where an 
illustration is given. 

PAVI'CULA. A rammer for 
beating down, and consolidating the 
flooring of a room, or other area. 
Cato, R. R. 91. Columell. i. 6. 2. 
Id. ii. 20. 1. Compare FiSTUCA. 

PAVIMENTA'TUS. Laid with 
an artificial flooring or pavement, j 
Cic. Dom. 44. Id. Q. Fr. iii. I. 1. 

PAVIMEN'TUM (tta<pos, 8dwe- j 
Sou). Strictly, a flooring composed 
of small pieces of brick, tile, stone, j 
and shells set in a bed of cement, and I 
consolidated by beating down with a j 
rammer {pavicula), which gave rise 
to the name (Plin. H. A r . xxxvi. 61. j 
Cato, R. R. xviii. 7.) ; though it was | 
thence transferred, in a more general 
sense, to any kind of artificial floor- 
ing, even of the most choice and ela- 
borate workmanship, like those de- ! 
scribed in the succeeding paragraphs \ 
(Hor. Od. ii. 14. 27. Suet. Aug. 72.), j 
or of wood (Vitruv. vii. 1. 2.). 

2. Pavimentuni sectile. A flooring | 
composed of pieces of different co- j 
loiu-ed marbles, cut (secta) into sets ! 
of regular form and size, so that, I 
when joined together, the whole con- : 
stituted an ornamental design or pat- ! 
tern, as exhibited by the annexed j 
specimen, representing a portion of | 
the ancient pavement still remaining | 
in the church of S. Croce in Geru- j 
salemme at Rome ; the objects at the j 
top show the different forms of the 
pieces with which it is composed ; j 
the triangular ones, A and B, consist 
of serpentine and palombino respec- 



PA VI ME NT UM. 48 1 



tively; the hexagonal, C, of pavonaz- 
zetto ; and the square, D, of red 




porphyry. Vitruv. vii. 1. 4. Suet. 
Jul. 46. 

3. Pavimentuni tessellatum, or tes se- 
ns structum. A flooring belonging 
to the class of sectilia, and also of an 
ornamental character, composed of 
coloured marbles, but of which the 
component parts were cut into regular 
dies, without the admixture of other 
forms, as in the annexed example, 





\ 1 1 












n~f u 

U 












JL 


~j mH 

+04 










P 




A 1 B 


j p 


. ... 

fr uTl 


1 ' 









showing part of a pavement in the 
Thermae of Cai'acalla at Rome. (Vi- 
truv. /. c. Suet. /. c. ) Square dies 
{tesselhv, tessera?) were likewise em- 
ployed in making other kinds of 
mosaic pavements, as in the following 
specimen ; but in that case they were 
of smaller dimensions, and less precise 
in their angles. 

4. Pavimentuni vermiculatum. A 
mosaic flooring or pavement, repre- 
senting natural objects, both animate 
and inanimate, in their real forms 
and colours, as in a picture. It was 
composed with small pieces of diffe- 
rent coloured marbles, inlaid in a bed 
of very strong cement, the colours 
and arrangement of the pieces being 
2 H 



482 PA VIMENTUM. 



PAVONACEUM. 



selected and disposed in such a man- 
ner as to imitate the object designed 
with a considerable degree of pictorial 
effect. The dies> however, were not 
laid in a regular succession of parallel 
lines, nor all exactly square, as in 
the last example (the tessellatum), but 
they followed the sweep and undula- 
tion in the contours and colours of 
the object represented, which, when 
viewed at a little distance, produces a 
close resemblance to the wreathing 
and twisting of a cluster of worms 
{vermes)) and thus suggested the 




name. The illustration, which is 
copied from the fragment of an an- 
cient vermiculated pavement, will 
afford a tolerable notion of this ap- 
pearance, though it is not so forcibly 
expressed as in the original, in con- 
sequence of the absence of colour, 
and the diminutive scale of the 
drawing. Plin. H. N. xxxv. I. Lu- 
cil. ap. Cic. Or. iii. 43. 

5. Pavimentu77i scalpturatunu An 
ornamental flooring or pavement on 
which the design is produced by en- 
graving {scalptura), and, perhaps, 
inlaying ; but, as the name implies, 
by a different process, or in a diffe- 
rent manner, from either of the kinds 
already described. (Plin. H. A r . 
xxxvi. 61.) The fragment of the 
marble floor, now preserved in the 
Capitol at Rome, which originally 
formed the pavement to the temple 
of Romulus and Remus, and had a 
complete map of the city engraved 
upon it (a specimen of which is intro- 
duced at p. 344. s. Ichnographia), 
affords an undoubted instance of the 
pavimentinn scalptiiratum in its sim- 



plest and least ornamental style ; 
though we can readily conceive that 
the Romans carried this style of de- 

! corative art to much greater perfec- 
tion, and conducted it upon a princi- 
ple similar to that followed in the 

I Duomo of Siena, where the effect of 
a finished cartoon is produced on the 

j pavement, by inserting pieces of grey 
marble for the half-tints into white, 

; then hatching across both with the 
chisel, and filling in the incisions 
with black mastic for the shade, so 
that the design approaches to the per- 




fection of a finished chalk drawing. 
! This effect will be readily conceived 

from the annexed specimen, which 
i presents a facsimile, though on a very 

reduced scale, of one of the groups 
1 designed by the artist Beccafiume. 

6. Pavi?rientum testaccum. A 
j flooring made of broken pieces of 
j pottery {testes). Pallad. i. 19. 1. 
1 lb. 40. 2. Same as No. 1. 

PAVONA'CEUM, sc. opus or tec 
j turn. A method of laying tiles of 

brick or marble, similar to what is 
j seen upon the roofs of old houses in 
I England, Holland, and Germany, in 

which the tiles are rounded at one 
j end, so that in overlapping each 

other they present an appearance 

like the feathers of a peacock's tail, 
! as exhibited by the annexed exam- 



PAXILLUS. 



PEC TOR ALE. 483 



p?e. from a marble fragment exca- 
vated in the Forum of Trajan. Plin. 
II. N. xxxvi. 44. 

PAXIL'LUS {irdaaaXos). Any 
small sharp pointed piece of wood ; 
as a peg for hanging things upon 
(Varro, ap. Non. s. v. p 153.) ; for 
supporting a shelf (Columell. viii. 
8. 3. ) ; a dibble for planting (Id. iv. 
16. 3.)- 

PEC'TEN («T6ts). A comb for 
the hair, made of box- wood (Mart, 
xiv. 25. Ov. Met. iv. 311.), or ivory 
(Claud. Nupt. Honor, et Mar. 102.). 
The illustration represents a small- 

^ i llll!l(9i 



toothed comb [denso dente. Tibull. i. 
9. 68.), from an original of ancient 
workmanship, made of box-wood, 
and having a bar of ivory inlaid with 
a pattern in gold, placed across the 
back, between the two rows of teeth, 
which are cut extremely fine and 
even. The large-toothed comb {rams 
pecten) was likewise employed in 
hair-cutting to place under the scis- 
sors, in order to prevent them from 
clipping too close. Plaut. Capt. ii. 
2. 18. 

2. (icre'is). An instrument with 
teeth like a comb, employed by the 
ancient weavers in the horizontal loom 
for the same purpose as the " reed," 
' ' lay, " or ' ' batten" of our own times ; 
viz. to run the threads of ihe web close 
together, by inserting its teeth between 
the threads of the warp, and pressing 





the comb up or down, according to 
the direction in which the web was 



intended to be driven. (Ov. Met. 
vi. 58. Virg. vii. 14.) The 

example represents an Egyptian im- 
plement of this description, from an 
original found in a tomb at Thebes, 
and now preserved in the British 
Museum. 

3. An iron-toothed brush, set with 
a number of crooked pins {pectinis 
unci. Claud, in Eutrop. ii. 382.), em- 
ployed for carding wool or flax. 
Plin. N. xi. 27. 

4. A haymaker' 's rake, which had 
the teeth set wide apart ; rctrus pecten. 
Ov. Rem. Am. 192. 

5. An iron instrument, with teeth 
like a comb, employed at harvest in 
some parts of ancient Italy and 
Gaul, instead of the reaping hook 
{fa/x), to nick off the ears of standing 
corn, as well as other grain, close 
under the neck, without cutting the 

I stalk. Columell. ii. 20. 3. Plin. 
\ H. N. xviii. 72. Compare Falx 
Denticulata and Merga. 

6. A contrivance employed for 
i striking the chords of a stringed in- 
I strument. (Virg. sEu. vi. 647. Juv. 

; vi. 382.) It was either the same as 
the Plectrum (which see) ; or, as 
the other senses of the word seem to 
indicate, a more complicated imple- 
ment, with several teeth, instead of a 
single stick ; but we know of no 
authorities, either written or demon- 
strative, to establish that conjecture. 

7. A particular figure in a dance, 
the nature of which is unknown. 
Stat. Ach. ii. 159. 

PECTOPvA'LE {riixi6oopa.Kiov, Kap- 
8to<pvAa£, yva\ov). Strictly, the front 
plate of a cuirass (represented by the 
left-hand figure in the illustration), 
which covered the chest and upper 
part of the abdomen, being fastened 
by straps over the shoulders, and by 
buckles or hinges down the sides to 
another plate, which protected the 
back, and is represented by the 
right-hand figure in the illustration ; 
though the word is also used for the 
entire cuirass. (Varro, L. I. v. 
116. Plin. H. N. xxxiv. 18. Polyb. 



484 PECUAR1US. 



PEDUM. 



vi. 23.) The Greeks applied the 
term yvakov to each of these plates, 




the back one as well as the front ; but 
the Romans do not appear to have 
distinguished the former by any 
special name. 

PECUA'RIUS. A Roman gra- 
zier upon a very extensive scale, 
who fanned the public pastures, upon 
which he raised and grazed large 
herds of cattle. Cic. Verr. ii. 6. 
Liv. x. 23. Compare Varro, R. R. 
hi. 1. 8. 

PED'ICA (Tre'STj). A general 
term for any snare or gin by which 
birds and wild animals are caught by 
the leg (Virg. Georg. i. 307. Liv. 
xxi. 36. ) ; and sometimes applied 
to a fetter for men (Plaut. Fcen. 
iii. 1. 11.). 

2. Pedica dentata (iroddypa, ttoSo- 
frrpd&ri). A particular kind of trap, 
employed by the ancient huntsmen 
for taking wild deer (Grat. Cyneg. 
92.), an account of which is given by 
Xenophon {Cyneg. ix. 12 — 20. Cy- 
rop. i. 6. 28.), and Pollux (v. 32 — 
34.). It consisted of a circular 
wooden frame, set round with teeth 
of wood and iron, within which a slip 
noose was fitted, with a heavy log of 
wood attached to its opposite extre- 
mity. The trap was set in a hole 
dug for the purpose, and covered 
over with earth, and the log con- 
cealed in another one at a little dis- 
tance off. When the stag trod on 
the trap, the spikes pricked his foot, 
which induced him to withdraw his 
leg with a jerk, and thus upset the 
trap. That action slipped the noose 
on to his foot, and consequently fixed 
the clog to his leg, which by trailing 



along the ground, displacing stones, 
and mai-kmg the earth along the 

J course taken in his flight, put the 
huntsman upon his track, whilst it 
also materially checked and ham- 

j pered his speed; for if it got fixed 
on a front leg, it would fly upwards 
with every 7 bound, and strike against 
his breast, neck, or face ; if on a hind 
leg, it would keep knocking against 
his thighs or belly; and sometimes, 
by getting wedged amongst stones 
or stumps, would bring him up to a 
complete stand-stilk A trap very 
closely resembling this description is 

i used for a similar purpose by the 
modern Arabs (Wilkinson, Manners 
and Customs of Ancient Egyptians, 
vol. iii. p. 6.), which is supposed to 
be an old Egyptian invention ; so that 
we may conclude it to have been 
common to several nations of anti- 
quity. 

PEDIS'EQUI. Slaves of both 
sexes, whose duty it was to attend 
upon their masters and mistresses 
whenever they went abroad. They 
formed a distinct class, and had pe- 
culiar services of their own to perform, 
different, for instance, from the ante- 
ambulones and nomenclatores, Avho 
were not pediseqici, though they like- 
wise followed their masters abroad. 
Nepos. Att. 13. Plaut. As. i. 3. 32. 

PEDUM {KopvvT), Xayai&ohov). A 
s/iefi/ierd's crook, for catching sheep 




and goats by the leg ; always repre- 
sented, in works of art, as a simple 
stick bent into a curve at one end, like 
the annexed example, from a Pom- 
peian painting, where it is carried by 
Paris, the Phrygian shepherd ; and in 
this form it is ascribed by poets and 
artists to the pastoral deities, Pan, the 
Fauns, and the Satyrs, and to the 
Muse who presided over pastoral or 
comic poetry, Thalia. (Festus, s. v. 
Virg. Ed. v. 88. Serv. ad I.) An 



PEGMA. 



PELLITUS. 



485 



implement of the same description, 
but rather shorter and stouter, was 
also employed by the ancient sports- 
men and rustics as a throw-stick for 
casting at hares (Theocr. Id. iv. 49. 
vii. 129.), from which practice it re- 
ceived the last of the two Greek 
names bracketed above ; and conse- 
quently in works of art it is appro- 
priately given in that form to the 
Centaurs, who are often represented 
with a dead hare in one hand and a 
short pedum in the other, to denote 
the fondness which that race was 
supposed to cherish for the sport of 
hunting. 

PEGMA (irriyfxa). Literally, any- 
thing made of boards joined together ; 
whence, in a special sense, a machine 
introduced upon the stage, in the 
amphitheatre, or upon other occa- 
sions where pageants were exhibited, 
for the purpose of representing any 
sudden or miraculous change of 
scenic effect. The apparatus was 
made of wood, and so constructed, by 
means of springs and weights in the 
internal machinery, that it would 
open and shut, expand or contract, 
increase or diminish in height, or 
change of itself into a form altogether 
different from the original one ; like 
the contrivances employed at our 
theatres for producing the tricks and 
changes in a pantomime, of which 
the pegma was the prototype. Senec. 
Ep. 88. Claud. Mall. Theod. 325. 
Phaedr. v. 7. 7. Suet. Claud. 34. 

2. In a private house, the term 
pegma was given generally to several 
pieces of furniture, as, the case in an 
atrium in which the ancestral por- 
traits [imagines major um) were de- 
posited, a bookcase, cupboard, &c, 
whether fixtures or not. Auson. 
Epigr. 26. Cic. Att. iv. 8. Ulp. Dig. 
33. 7. 12. 

PEGMA'RES. Gladiators intro- 
duced into the amphitheatre upon a 
pegma, which was then made to 
undergo some sudden change, such 
as turning into a den filled with wild 
beasts, amongst which they would be 




precipitated. (Suet. Cal. 26.) But 
as the word only occurs in this pas- 
sage, and the reading is regarded as 
doubtful, the explanation of it can 
only be received as a conjectural 
probability. 

PELECFNON. One of the many 
kinds of sun-dials constructed by the 
ancients, supposed to have received 
the name from 
bearing a resem- 
blance to the 
form of a "dove- 
tail" in carpentry, 
and thus to be 
derived from the 
Greek word 7re- 
Ketclvos, which has 
that signification ; 
a conjecture ren- 
dered highly pro- 
bable by the annexed example, pub- 
lished by Lambeccio {Append, ad Lib. 
IV. Comment, p. 282. ); the top of which 
is foi-med exactly like a dove-tail. 

PELLEX (7raAA.cc/c77). A kept- 
mistress, who lived in a state of im- 
moral intercourse with a married 
man, or with one who had contracted 
the sort of alliance termed concubi- 
natus with another female. Dig. 50. 
16. 144. Becker, Gallns. 

PELLICULA'TUS. Covered 
with skin or leather, especially with 
reference to a 
bottle or a jar in 
which fruits, pre- 
serves, and other 
articles requiring 
the air to be ex- 
cluded were kept ; 
as in the annexed 
example, from a 
Pompeian paint- 
ing, in which the 
edges of the lea- 
ther cap are seen protruding from 
underneath the lid, which is tied 
down by cords passing through the 
handles. Columell. xii. 46. 5. Ib. 
39. 2. and 46. 1. 

PELLPTUS (atavpocpopos). Clad in 
fur orskins; a common style of clothing 




486 PELLUVIA. 



PELT AST A. 



amongst the northern nations, the 
Greeks of the heroic ages, and Ro- 
mans of primitive times, 
and which continued 
in use at a subsequent 
period for the peasan- 
try, and others sub- 
jected to the exposure 
of a country life, such 
as hunters, fowlers, 
&c. (Liv. xxiii. 40. 
Ov. Pont. iv. 8. 83. 
Prop. iv. I. 11.) Cloth- 
ing of this nature is 
frequently met with on 
works of art in the form of an ex- 
amis ; but the annexed figure, repre- 
senting a fowler from a statue at 
Naples,' wears a tunic, with an amic- 
tus over it, both made of fur. 

PELLU'VIA or -UM {trolavi-K- 
T7]p). A foot-pan, or basin for 
washing the feet in, as opposed to 
mallnvhcm, a basin for washing the 
hands. (Festus, s. v.) The illus- 
tration, from a Pompeian painting. 




of the female figures in the followinp; 
page ; but more commonly truncated 




represents Cupid preparing a foot- 
bath for Adonis, who, in the original 
composition, is sitting in front of the 
vessel ; and a bas-relief in Winkel- 
mann (Mon. Ined. No. 161.) exhibits 
the old nurse washing the feet of 
Ulysses in a vessel of similar form 
and character. 

PELT A (ttcAtt?). A small and 
light shield made of the same mate- 
rials as the cetra (Liv. xxviii. 5.) ; 
viz. wood or wicker-work covered 
with leather, but without any metallic 
rim. In shape it was sometimes el- 
liptic, like the example borne by one 




at the top, and indented by one or 
two semicircular incavations, like the 
annexed specimens, from ancient 
monuments, whence it is character- 
ized by the epithet hinata (Virg. 
Atn. I. 490. Compare Varro, L. L. 
vii. 43. ). In this form it is more 
especially characteristic of the Ama- 
| zons and Asiatic races (Quint. 
I Smym. i. 147 — 149. ) ; for the Thra- 
j cian shield, to which the name of 
pelta was also given (Herod, vii. 75.), 
because made of the same light 
materials, possessed a square and im- 
bricated figure, like the Roman 
scutum, but upon a smaller scale. 
See Parma, 2. and the right-hand 
figure in the next wood-cut. 

PELTAS'TA [vehraar-fis). In a 
general sense, one who wears the light 
shield called pelta; but the name 
was also specially given to a particu- 
lar class of the Greek soldiery who 
were provided with this defence 
(Liv. xxviii. 5. xxxi. 36.), composed 
j originally of Thracian mercenaries, 
but subsequently adopted into the 
regular army by I phi crates the Athe- 
| nian. (Xen. Hell. iv. 4. 16. v. 12. 
j seq. ) In addition to the pelta, they 
J carried a knife or dirk, but had no 
j body armour (Herod, vii. 75.), and 
j thus occupied an intermediate grade 
j between the heavy-armed troops 
■ (6n\?Tai) and those who were alto- 
i gether unprovided with protective 
i arms (ipiAoi). (Polyb. v. 22. Ib. 23. 
j Ib. 25.) The left-hand figure of 
I Priam in the illustration, from a 
j marble bas-relief, exhibits an Asiatic 
S peltasta, whose costume corresponds 
j very closely with the descrip- 
tion of Herodotus (/. c.) ; and the 
I right-hand one, from a terra-cotta 
! lamp, represents a gladiator of the 
class called Thracians {Thraces), 



PEL TATA. 



PENATES. 



487 



who were equipped in the same style 
as the soldiers of that country ; and, 




consequently, may be received also 
as an exemplification of the accoutre- 
ments and general appearance pre- 
sented by the military belonging to 
the corps in question. 

PELTA'TA. In a general sense, 
any female who bears the small light 
shield called pelta ; but more espe- 
cially used to designate a female 
warrior of Amazonian race, to whom 
it is universally attributed by poets 
and artists as the national arm of de- 
fence. Ov. Her. xxi. 117. Am. ii. 
14. 2. Mart. ix. 102. Compare Stat. 
T/ieb. xii. 761., where pcltifera is 
used in the same sense. The illus- 
tration represents two Amazons, 




from a marble bas-relief ; the one on 
the left hand, with a lunated pelta of 
the most usual form, the other of a 
cylindrical figure, which is of much 
rarer occurrence. 

PELVIS (7re\t*). A basin, in the 
same extensive meaning as our own 



term ; meaning thereby a large ves- 
sel of circular form and open circum- 
ference (hence patula, Juv. iii. 277.), 
intended to hold water for washing 
for all general purposes, whether 
persons or things ; thus, as a generic 
term, including the special varieties, 
although they might be designated 
by an appropriate name of their 
own ; as the hand-basin {.malhtvium, 
where see the illustration), the foot- 
basin {fielluvhim, where an example is 
also given), and various others enume- 
rated in the Classed Index. Non. 
Marc. s. v. p. 543. Varro, L. L. 
v. 119. Pet. Sat. 70. 8. Juv. vi. 441. 

PENA'TES. Household gods, 
who were believed to be the creators 
and dispensers of all the well-being 
and gifts of fortune enjoyed by a 
family, as well as an entire commu- 
nity, which it was the object of the 
guardian spirits {tares) to protect 
and preserve. It is not clear whether 
all, or which of the gods, were ve- 
nerated as penates ; for many are 
mentioned of both sexes, Jupiter, 
Juno, Minerva, Vesta, Neptune, 
Apollo, &c. ; but every family wor- 
shipped one or more of these, whose 
images were kept in the inner part of 
the house, the tablinum, situated be- 
yond the atrium. (Cic. N. D. ii. 




27. Macrob. Sat. iii. 4. Vr.rro, ap. 
Arnob. iii. 123. . Serv. ad. s£n. ii. 
296. and 325.) They are represented 
in various ways on coins and medals ; 
but in the annexed illustration, from 
the Vatican Virgil, which has the 



488 PENICILLUM. 



PENNA. 




The illusti 



name inscribed over them, they ap- 
pear as old men with their heads 
veiled, like a priest when officiating 
at the sacrifice. 

PENICIL'EUM or -US (probably 
pa&Siov. Clearch. ap. Athen. xv. 35.). 
A painter's brush or 
pencil for laying on 
the colour (Cic. Or. 
22. Quint, ii. 21. 
24.) ; some of which 
were made of hair 
(Plin. H. N. xxviii. 
71.), and others of 
the long pointed fi- 
bres of a sponge 
(Plin. //. N. ix. 69.) 
tion represents part of a female figure 
in a Roman bas-relief, presenting a 
paint-brush to M. Varro, in allusion 
to one of his works, which he illus- 
trated with the portraits of celebrated 
men. The true meaning of the 
Greek word bracketed as synony- 
mous admits of doubt, and has re- j 
ceived various interpretations ; but, ; 
as it is applied to Parrhasius in a j 
paragraph treating of the effects of 
colour, which even in some of the 
encaustic processes was laid on in a : 
liquid state with a brush (see En- i 
CA.USTICA), it is highly probable that 
the right meaning is alleged. 

PENICULAMEN'TUM. The j 
end or pointed extremity of a loose I 
garment, such as the chlamys ox pal- I 
Hum, which hangs down like the tuft I 
end of a tail. Ennius. Lucil. Caecil, I 
ap. Non. s. v. p. 149. 

PENIC'ULUS. A paint-brush. ' 
(Plin. H. N. xxxv. 36. § 11.) Same 
as Penicillum, which some editions 
have in the passage cited. 

2. A brush for dusting, made out 
of the tuft of a cow's tail. Plaut. 
Men. i. 1. 1. Ib. ii. 3. 45. 

PENNA. A quill, or large feather 
growing from the wing or tail, as 
contradistinct from pluma, the small 
feather composing the general plu- 
mage of the body (Columell. viii. 2. 
10. ) ; employed for various purposes, 
the whole feather for sweeping and 



dusting out confined or intricate re- 
cesses (Pallad. Nov. viii. 1.); the 
quill part for making tooth-picks 
(Mart. xiv. 22.) ; the feather end for 
making a wing (a/a) to the arrow 
(Ov. Met. vi. 258.), which kept its 
head straight, and directed its course 
through the air. Sagitta. 

2. A pen for writing (Isidor. 
Orig. xiv. 3.), made of a quill, as 
shown by the annexed example, 
from the Columns of Trajan and 
Antoninus, on both of which it ap- 
pears in the hands of a female figure, 
personified as Victory, who is occupied 
in recording the military successes of 
those emperors. The use of the 
quill, as an implement for writing 
upon parchment or paper, is, 
however, of a comparatively 
late period, the reed or cane 
(arundo, calamus) being solely 
employed for that purpose in 
early times. Beckman assigns 
the fifth century as the period 
of its introduction (History of 
Inventions, vol. i. p. 408. London, 
1846) ; but he was only cognizant of 
one instance where it is represented 
on works of art — the marble of the 
goddess Egeria (Gronov. Thesaur. 
Anliq. Gr. 2. n. 28), in which he 
suggests the probability of the pen 
having been added by a subsequent 
hand. Admitting that to be an es- 
tablished fact, instead of a suppo- 
sition, the two instances quoted 
above will still remain to be disposed 
of ; and as the' object in question ap- 
pears on both of them about midway 
up the columns, that is, at an eleva- 
tion of nearly sixty-four feet above 
the ground, it would be mere folly to 
suppose that a scaffolding of that 
height Was ever erected for the 
useless purpose of making any such 
addition. It is, therefore, obvious 
that quill pens were made as early at 
least as the commencement of the 
second century, when the Column of 
Trajan was executed, though they 
may not have come into general or 
common use until a much later period.- 



PENNIPES. 



PEPL UM. 



489 



PEN'NIPES. Having feathers 
or wings attached to the feet ; an 
epithet given to Mercury and Per- 
seus. (Catull. lxv. 24.) Same as 
Alipes, which see. 

PEN'SILIS. See Horreum and 

HORTUS, 3. 

PEN'SUM. That which is 
weighed out as a task ; more especi- 
ally applied to the labour of females, 
because a certain quantity of wool 
was weighed out daily to each of 
the female slaves in an ancient house- 
hold, which she was expected to 
spin into thread for her day's work. 
Justin, i. 3. Plaut. Virg. Ov. and 
Lanipendia. 

PENTASPAS'TOS {rr^Tdcnraa- 
tov). A pulley case, containing a 
set of five pullies [orbiculi) for raising 
weights, like the example s. Orbi- 
CULUS, only more powerful from its 
increased action. Vitruv. x. 2. 3. 

PENTATH'LUM {tv4vt aBkov). 
A word merely translated from the 
Greek, for which the genuine Latin 
expression is Quinquertium. 

PENTELO'RIS, sc. vestis. A 
garment ornamented with five bands 
of gold embroidery or purple, as ex- 
plained under the word Paragauda. 
Aurel. Vopisc. 46. 

PENTE'RIS {ire^pris). A word 
merely translated from the Greek, 
for which the genuine Latin term is 
Quinquiremis. 

PE'NULA. See P^nula. 

PEP'LUM and PEP'LUS (t^VAo^ 
and -TreVAos). A Greek word trans- 
lated into Latin, designating a parti- 
cular article of the female attire, | 
which the Romans expressed by the 
corresponding term Palla ; the 
Greek word being derived, according 
to Riemer, from 7reAAa, and akin to i 
e7ri7rAa and iiv'nvXoov ; from which the 
Latin pellis, palla, and pallium are 
likewise obtained. The ordinary 
interpretation given to the word, "a 
shawl," rests upon no substantial 
authority, if it be understood in our 
sense of the word ; at the same time 
that it affords but a loose and incor- 



rect notion of the dress itself, and 
the method of adjusting it ; which is 
fully and circumstantially detailed 
under its genuine Latin name Palla ; 
to which, and the illustrations accom- 
panying it, the reader is referred. 

As the above explanation is at 
variance with the notions ordinarily 
received, it appears incumbent to 
state in a concise manner some of 
the principal reasons for its adoption; 
and as the article in question be- 
longed properly to the Greek attire, 
its real character must be sought in 
the writings and usages of that coun- 
try. I. Pollux (vii. 49, 50.) de- 
scribes the peplum as a dress exclu- 
sively for females, which served the 
double purpose of a tunica and pal- 
lium (like the Latin tunicopallium — 
eVi'jSATjjUa /cat xitwj/, and eadrifxa 5' larl 
diirAovv rr)u xps'iav, ws ivSovvai re /ecu 
iirtPdAAeaOcu). 2, The Scholiast on 
Homer (77. v. 734.) defines it to be a 
tunic, which was not put on over the 
head, like the common one (Indu- 
ttjs), but was adjusted and fastened 
on the person by means of brooches 
(yvvaiKeiov ivovjxa, tout 3 iarl x Lr & va -> 
ov ovk iveovovro aAA 5 ivsTrecovoovTo). 
3. Eustathius {ad Od. a. p. 1847.) 
describes the peplum as a large wrap- 
per which entirely co- 
vered the left shoul- 
der, and had one of 
its surfaces passed be- 
hind the person, and 
the other across the 
front, until they met 
on the right side, 
where they were 
joined together in 
such a manner as to 
leave the arm and 
shoulder exposed (fj.e- 
yav TTtpiBoXaiov, (tkgttov rbu apiarepov 
&IAOV, Ka\ ijxirpooQGv koX on icrdev away ov 
ras ouo TTrepvyas els ttjv 8e|ta// irXevpav, 
yvfxvriv £5>v rrju Serial* X 6 *P a ffa * rov 
Sjhov). The annexed figure, from a 
statue found at Herculaneum, and 
composing one of the same set as the 
first two inserted in the article 




PEPL UM. 



Palla, p. 465., elucidates the words 
of Eustathius in a striking manner, 
showing the character of the drapery 
and method of putting it on ; with 
the exception, that his account seems 
to place the second brooch under 
the arm, instead of upon the shoulder, 
so as to form an exomis, of which an 
example is afforded in Hope's Cos- 
tumes, vol. ii. p. 1 80. , whence we may 
infer that both these fashions were 
practised ; but that in no wise alters 
the essential character of the dress. 
4. Panthea is described by Xenophon 
{Cyr. v. I. 6.) as rending her peplum 
during an access of grief — irepiKarep- 
pri^aro rbv avoodtv TriirKov ; which does 
not mean simply, that she " tore and 
rent her outer garment," as the trans- 
lators render it ; but that she tore 
the tipper part (to avuOev) of her 
peplum ; viz. that which is turned over 
at the top, and covers the breast and 
back, rending it round (wept) and 
down (Kara) — an action and expres- 
sion perfectly intelligible when ap- 
plied to a garment of the nature ex- 
hibited in the illustration, but not so 
reconcileable with the idea of a 
shawl over the head. During this 
act her face, neck, and hands were 
exposed to the gaze of the bystanders 
(Xen. I.e.); from which, the com- 
mentators infer that the peplum 
covered the head and hands ; but 
that is a mistaken notion ; for the 
Greek and Roman women, as well 
as Asiatics, wore a separate shawl or 
veil (amictus) over the peplum (see 
the illustration s. Palla, 3. p. 467. ) ; 
and it is this which got displaced, 
as it naturally would, from the head 
and face, by the violent action of 
tearing the body-dress (peplum) in 
the manner described. 5. The pep- 
lum is mentioned both by Greek and 
Latin authors as a long dress reach- 
ing to the feet, and trailing on the 
ground (TpcoaSas eAKtonreirAovs, Horn. 
II. vi. 443. peplum fluens, Claud. 
Nupt. Honor. 122. Manil. v. 387.), 
which character it is difficult to con- 
nect with the appearance of a shawl. 



6. The same term is applied by the 
j Greeks to the long close-fitting robe 
j with sleeves to the wrist, and skirts 
I to the feet, which was worn by the 
j Persians (/Esch. Pers. 474. 1060.), as 
j the Romans gave the name of palla to 
I a robe of the same description, which 
j was worn by musicians on the stage. 

See the illustrations to Septuchus 
I and Palla Citharoedica. 7. 
! The peplum was fastened by a brooch 
on the shoulder, which, when un- 
! clasped, left the shoulder and side 
naked (Soph. Trachin. 926 — 928. 
| Sidon. Apoll. Carm. iii. 206.) ; but a. 
1 shawl, which is only worn over 
! some other dress, would not denude 
; the person even when removed alto- 
j gether from the body. 8. A gar- 
| ment of the nature described under 
the term Palla answers all these 
j conditions, and satisfactorily explains 
i why it is- sometimes mentioned as 
a tunic, and sometimes as an amic- 
tus (Mart. Capell. 6. aviicta peplo) ; 
j why it occurs in the sense of a 



i carpet, 
I anything 



curtain, veil for covering 
; how the notion of its 
being only a shawl has obtained ; 
I and how, when carried in the Athe- 
j naic procession, it was said to be like 
j the sail of a ship ; because, when 
j loosed from its clasps, and unfolded, 
j it was in reality nothing more than a 
! large rectangular piece of drapery, 
! which acquired the characteristic 
; appearance of a legitimate garment 
from the manner in which it was 
I folded and adjusted on the person. 

2. The peplum of Athena was a 
; large and splendidly embroidered 
1 piece of drapery, that was carried in 
j public procession at the Panathenaic 
j festival, opened out to its full dimen- 
; sions, and borne between two poles, 
i like the sail of a ship, in the same 
[ manner as emblazoned flags and 
banners are now carried by two men 
in the solemn processions of the Ro- 
man Catholic Church (Plato, Eu- 
thyphr. 6. C. Virg. Cir. 21.); but 
when placed on the statue of the god- 
dess, it was folded and adjusted in the 



PER A. 



PERGULA. 




same manner as the Palla. This 
will be readily admitted from the an- 
nexed figure of Mi- 
nerva on a fictile 
vase ; although the 
brooches on the 
shoulders are con- 
cealed by the am ic- 
tus outside, and the 
pepliun is compress- 
ed by a girdle, ren- 
dered necessary by 
the great depth 
of the upper part 
turned down (rbv 
&yco 3e y 7re7r Aoi') , thus 
indicating the am- 
plitude and consequent splendour of 
the drapery out of which the dress 
was formed. Many other statues 
exhibit Minerva in a similar cos- 
tume ; and amongst these, one of the 
Museo Chiaramonti (tav. 14.), which j 
has no outer drapery, shows the 
brooches on both shoulders, and the 
whole arrangement of the peplum ex- 
actly similar to the first two figures 
introduced under the article Palla ; 
the only difference being that the fall 
over is as deep as in the annexed 
figure, and a narrow cegis crosses 
obliquely from the right shoulder, 
in the form of a balteus, to keep the 
dress adjusted, instead of a girdle 
round the waist. 

PE'R A (irfym). A scrip or wallet, 
made of leather and slung by a strap 
over the shoulder ; 
used by travellers, rus- 
tics, mendicants, and 
the cynic philosophers 
in imitation of them, 
to carry provisions 
and other necessaries. 
(Phaedr. iv. 9. Senec. 
Ep. 91. Mart. iv. 53.) 
The illustration repre- 
sents a peasant with 
his staff and scrip 
(baculo et per a) from a 
marble at Ince-Blundell. 

PERFORA'CULUM. An in- 
strument employed by carpenters, 



carvers in wood, and artizans of a 
similar class ; usually translated a 
gimlet or auger ; but it is clearly dis- 
tinguished from the terebra in the 
following passage, where ite connex- 
ion with the word clolatus would seem 
to indicate some implement more in 
the nature of a gouge — perforaculis 
dolatum, terebrarum verligine cxcava- 
tum. Arnob. vi. 200. 

PER'GULA. Literally, and in a 
general sense, any kind of building 
added on to the side of a house or 
other edifice, beyond the original 
ground-plan, as an outhouse ox lean-to, 
like the outbuilding in front of the 
annexed landscape, representing a 
country-house or farm, in one of the 



JbsfcL iff? 





Pompeian paintings. (Plaut. Pseud. 
i. 2. 84. Pet. Sat. 74. ) Whence the 
following more special senses : — 

2. A stall or balcony constructed 
over the colonnades of a forum, and 
abutting' from the buildings adjacent ; 

i chiefly intended for the occupation of 
I bankers and money changers. Plin, 
J H. N. xxi. 6. and compare M^Nl- 

ANUM. 

3. A painter's exhibition-room ; a 
large outbuilding in which the artists 
of antiquity were accustomed to ex- 
pose their works to public view, 
when finished. Lucil. ap. Lactant. i. 
22. Plin. H. N. xxxv. 36. § 12. 
Cod. Theodos. 13. 4- .4- 

4. A lecture room in which any of 
the arts or sciences were taught. 



492 PER IPE TASMA . 

Suet. Gramm. 18. Juv. xi. 137. 
Vopisc. Saturn. 10. 

5. An observatory at the top of a 
house for taking astronomical obser- 
vations. Suet. Aug. 94. 

6. In vineyards and gardens a 
long covered walk, over which the 
vines were trained to a framework of 




wood or trellis, as in the annexed ex- 
ample from a painting of the Naso- 
nian sepulchre. (Liv. xiv. 3. Com- 
melh iv. 21. 2. Id. xi. 2. 32.) The 
modern Italians retain the word 
pergola in the same sense. 

PERIPETAS'MA <7rept7reW/m). 
A general term, strictly Greek, for 
anything which is spread out, as a 
covering, curtain, tapestry hanging, 
&c. Cic. Verr. ii. 4. 12. See Au- 

LAEA, PERISTROMA, TAPES. 

PERIP'TEROS (TrepiVrepos). A 

term employed ^ 

by architects jjl ! *'**'* ° " * ° * * oil 
to designate a • 
temple or other j J • • ) * *J 

edifice which 1!] ; . ....... k , . *|| 

is surrounded 

on the outside by a colonnade con- 
sisting of a single row of columns all 
round. (Vitruv. iii. 2.) The temple 
of Theseus at Athens affords an ex- 
isting specimen of the style. 

PERIS'CELIS (irepjo-neAi's). An 
anklet, made of choice materials and 
workmanship, worn more particularly 
by the Greek women and courtezans 
round the ankle in the same manner 
as a bracelet is round the wrist. 
(Hor. Ep. i. 17. 56. Pet. Sat. 67. 
4 and 5. ) In the numerous instances 
where ornaments of this description 
are represented in the Pompeian 
paintings, they are always introduced 



PERISTYLIUM. 

upon figures with bare feet and legs, 
dancing girls and such characters, or 
the goddesses and heroines draped in 
the poetical or heroic style, like the 
annexed example representing Ari- 
adne ; consequently, in the passage of 
Petronius (/. c. ), where they are worn 
by the wife of Trimalchio, and seen 




peeping from under her tunic above 
the tops of her shoes, it is expressly 
intended to ridicule the ostentation, 
vulgarity, and absurdity of the 
wealthy parvenu and his silly help- 
mate, who loads her person with 
finery, without regarding its fitness, 
or perceiving the ridiculous figure 
she makes of herself. 

PERIS TRO' MA {irtplarpw/xa). 
In general anything which serves as 
a covering, like the curtains, carpets, 
and hangings of a room ; but more 




especially a large and loose coverlet 
customarily spread over a bed or a 
dining couch so as to hang down 
round the sides, in the manner shown 
by the annexed illustration from the 
Vatican Virgil. Cic. Phil. ii. 27. 

PERISTYLIUM {irepicnvXiov). 
A peristyle ; that is, a colonnade 
round a courtyard, or in the interior 
of a building, which has the columns 
on the inside and the wall without, 



PERISTYLUM. 



PERSONA. 493 



as in the example below ; whereas 
the term peripteros is used to express 
a structure., designed upon a plan 
precisely the reverse of this ; viz. 
a colonnade on the exterior of a 
building, which has the columns on 
its outside, and the wall within. 
Suet. Aug. 82. Phn. Ep. x. 23. 2. 
Schneider. Vitruv. iii. 3. 9. 

2. The peristyle of a Roman house, 
which formed the second or inner 
division of the general ground-plan, 
corresponding in locality with the 
GyiuTconitis of a Greek domicile; and 
was regarded as the internal or pri- 
vate portion of the edifice, containing 
the domestic apartments in the ordi- 
nary occupation of the proprietor and 
his family, to which none but their 
immediate friends and acquaintances 



PERISTYLUM (^plffrvAou). 
\ Cic. Dom. 44. Varro, R. R. iii. 5. 8. 
j Same as the preceding. 

PERO (ap&vkr)). A boot reaching 
up to the calf of the leg, laced in 
! front and made of raw 
' hide, or untanned 
leather, with the fur 
I on. (Virg. ALn. vii. 
j 690. Juv. xiv. 186. Isi- 
j dor. Orig. xix. 34.) 
! The example is from a 
i Pompeian painting. 

PERONA'TUS. Wearing the 
I boots last described (perones, Pers. v. 
j 102. ) ; the characteristic chaussure of. 
agricultural labourers, ploughmen, and 




III 




had access. It consisted of an open 
space, surrounded internally with a 
colonnade, like the Atrium, but 
covering a larger area, open to the 
sky, and. sometimes laid out as a gar- 
den, with a fountain and impluviwn 
in the centre ; the apartments occu- 
pied by the family being distributed 
round its sides, and opening upon 
the colonnade in question. It was 
separated from the Atrium by the 
tablinum and fauces, both passages of 
communication between the two divi- 
sions. (Vitruv. vi. 3. 7.) The illus- 
tration represents an elevation of 
half the peristyle of a house at 
Pompeii, restored by Mazois ; and 
its relative situation with respect to 
the rest of the house will be under- 
stood by referring to the ground-plan 
at p. 248. col. 2. on which it is 
marked FF. 



shepherds, of which last a specimen 
j is inserted from the Vatican Virgil . 
PERPENDI'CULUM (/^eros). 
A plumb-line or line and plummet, em- 
ployed by bricklayers, masons, &c, 
for the purpose of proving ■ 
if their work be true to the 
perpendicular. (Vitruv. vii. 
3. 5. Cic. ap. Non. s. v. p. 
162. Phn. H. N. xxxv. 49.) 
The illustration represents 
an original found with several 
others in a stone mason's ^ 
shop at Pompeii ; and nume- >S3f^ 
rous examples have been dis- 
covered in various excavations, ail 
bearing a considerable resemblance 
i to one another, and differing in no 
! respect from those now in use, with 
j the exception that thev are made of 
I bronze instead of lead, and exhibit 
\ taste in their design, which the an- 
j cients constantly studied even in the 

commonest articles of dailv use. 
! PERSO'NA {-KfoaooiTol or -etov). 



494 



PERSOXA . 



A mask, always worn upon, the stage 
in the theatres of ancient Greece and' 
Italy, by the actors of ail classes, 
tragic, comic, or pantomimic. The 
part which covered the face was 
made of wood (Prudent. Adv. Symm. 
ii. 646. Compare Virg. Georg. ii. 387. ), 
and to this a wig ot suitable charac- 
ter was added, so that the entire 
head of the actor, as well as his face, 
was completely covered (Aul. Gell. 
v. 7. ), and travestied. Moreover, 
every age and condition of life, from 
youth to decrepitude, or from the 
hero to the slave, was represented by 
an appropriate mask, the character- 
istics of which were sufficiently fami- 
liar for the quality and condition 
of the personage represented to be 
immediately recognized by the spec- 
tators upon his appearance on the 
stage ; and the wig belonging to each 
particular mask had a settled style of 
coiffure, as well known as the fea- 
tures it accompanied. Those which 
were intended to personify historical 
personages, heroes, demi-gods, &c. 
were designed in imitation of some 
authentic type, handed down through 
ages by poet^, painters, and -sculp- 
tors ; and, consequently, were often- 
times beautiful representations of 
ideal forms ; the others, employed 
in general tragedy and comedy, were 
very numerous, and varied in their 
details, as explained in the two fol- 
lowing paragraphs. 

2. Persona tragica. The tragic 
mask (Phsedr. i. 7.), of which there 
were at least twenty-five different 
kinds, six for old men, seven for 
young men, nine for females, and 
three for slaves ; distinguished by a 
particular conformation of features, 
-colour of the complexion, and ar- 
rangement as well as colour of the 
hair and beard. The next illustration 
shows three of these varieties, from 
Pompeian paintings, two for old men, 
and one for a young character ; that 
on the right, with the grand super- 
ficies, for stately tragedy ; the one on 
the left, with the hair also disposed 



in a superficies, but with more 
sobriety, and a more natural appear- 




i m 





ance, for middle tragedy ; and the 
youthful one in the centre, which has 
the hair disposed in a similar fashion, 
but with still less of exaggeiation, be- 
longing to the same class ; all exactly 
as described by Pollux, iv. 133. seq. 

3. Persona comica. The comic 
mask, of which no less than forty- 
three different types are enumerated, 
distinguished, in the same manner as 
the last-mentioned, by their features, 
complexion, and wigs ; viz. nine for 



QTft 

v*> MX 



old men, ten for young men, seven 
for male slaves, three for old women, 
and fourteen for young women. The 
! annexed illustration affords an ex- 
| ample of two kinds, from the paint- 
I ings of Pompeii ; the right one of an 
I old man, the other of a young woman, 
j with her head in the mitra intended 
I for a courtezan {meretrix), as de- 
! scribed by Pollux (/. c). Other 
specimens of comic mask-s are intro- 
duced, s. Personatus, Lorartus, 
Mimus. 

4. Persona muta. Another kind 
of mask was that worn by the dumb 
actor, persona 



muta, enumerated 

in the dramatis 
j persona? to some 
! of the comedies 
i of Plautus and 

Terence, who 

comes upon the 

stage as an attendant upon others, 




PERSONA TUS. 



PES. 



495 



but never speaks himself ; corre- 
sponding with the "walking gentle- 
man" of the modern drama. It is 
represented by the annexed woodcut 
from a Pompeian painting, in which 
the closed mouth and compressed 
lips indicate the silent character of 
the actor who wore it. 

5. A mask of terra-cotta marble, 
or other material, designed to imitate 
the human face, 
heads of animals, 
or similar devices, 
generally of gro- 
tesque forms, em- 
ployed as an ante- 
fix in buildings 
(see woodcuts s. 
Antefixa) ; as 
an ornamental es- 
capement for the water of a fountain ; 
or as a gargoil for discharging the 
rain-water from a roof, of which the 
annexed illustration affords a speci- ! 
men, from an original of terra-cotta. | 
Lucret. iv. 297. Plin. H. N. xxxv. j 
43. Ulp. Dig. 19. 1. 17. 

PERSONA'TUS. Masked, or ! 
wearing a mask {persona) ; more 
especially with reference to an actor 
on the stage (Cic. Orat. iii. 59. Hor. 
Sat. i. 4. 56. ) ; for in the ancient 
theatres of Greece and Italy the 
performers always appeared in masks, 
designed to suit the particular cha- 
racters which each had to play ; of 
which an example is afforded by the 




annexed 




representing 



one of the figures on a marble bas- 
relief, on which a scene from some 
comedy is delineated. 

PER'TICA. Any long thin rod 
or pole, for threshing corn (Plin. 
H. N. xviii. 72.); nut trees (Ov. 
Nux, 67.); olives (Plin. H.N. xv. 

3. ) ; as a measuring rod, or perch 
(Prop. iv. 1. 130.), also termed pcr- 
tica militaris (Serv. ad Virg. Eel. ix. 
7.), because the lands apportioned 
amongst the military were measured 
off into allotments by this instrument. 
Thence it is often expressed on 
medals and engraved gems by the 
side of a plough. See Gorlaeus, Dac- 
tyl iotkec. ii. Nos. 608. 610. 

PES (irovs). A foot of men and 
animals, upon which the body is sup- 
ported ; thence transferred to inani - 
mate things, as the foot of a table, 
chair, stool, couch, &c, which were 
sometimes made to imitate the feet of 
animals, or other ornamental termi- 
nations similar to what are still in 
use, as shown by numerous examples 
introduced in the course of these 
pages. Sen. Ben. ii. 34. Ov. Met. 
viii. 661. Plin. H. N. xxxiv. 4. 

2. A foot measure, which was 
divided into twelve inches {uncice), 
and subdivided into sixteen digits 
{digiti, Vitruv. iii. 1. Columell. v. 1. 

4. Front. Aq. 24. ). The precise 
■ length of the old Roman foot has not 
j been distinctly ascertained, for though 

several foot rules of bronze have 
been found in excavations, they all 
vary slightly in their respective di- 
mensions. One of these, from an 
original found at Pompeii, is repre- 
sented s. Regula i., for the limited 
width of these pages will not admit 
of its being inserted on a scale suffi- 
cient to show the real length. Seve- 
i*al examples, however, of the actual 
size are engraved in the Mnseo 
Borbonico vi. 15. and Ficoroni, La- 
bico Antic 0, p. 93. 

3. Pes veli. A rope attached to 
the clew or lower corner of a square 
sail, for the purpose of setting it to 
the wind, called the sheet in the nau- 



496 



PES. 



P ETAS US. 



tical language of our country. (Isi- 
dor, Orig. xix. 3. 4.) Each sail was 
furnished with two sheets, as shown 
by the annexed example, from a coin 




of Lepidus, one on the larboard, the 
other on the starboard clew (Catull. 
iv. 19.); whence the following ex- 
pressions will be readily understood : 
{Equo pede, or pedibus cequis (Ov. 
Fast. iii. 565. Cic. Att. xvi. 6.), to 
sail before the wind, because then the 
sail was set straight across the ves- 
sel, and consequently both sheets 
were braced to the same length ; 
obliquare Icevo pede cornua (Lucan. v. 
428. ), to sail 011 a wind, or by the 
wind, because in such case the yard 
and sail were braced up, or slanted 
across the vessel, to catch the slant of 
the wind ; proferre pedem ( Plin. H. A r . 
ii. 48. ) has the same meaning, because 
one of the sheets was brought and 
braced forward, as in the illustration, 
to give the necessary obliquity to the 
sail already mentioned ; facere pe- 
dem (Virg. JFn. v. 828.), to slack 
out the sheets in order that the sail 
may expand to the wind, also imply- 
ing that the wind comes from a 
favourable quarter. 

4. Pes vinaceorum. The mass of 
grape skins and stalks remaining 
after the first juice, which made the 
finest wine, had been squeezed out 
by the press-beam {prelum), and 
from which the wine termed circum- 
cidaneum, and other inferior qualities, 
were subsequently extracted by the 
repeated action of the beam. Colu- 
mell. xii. 43. 10. Ib. 19. 3. Com- 
pare the wood-cut s. Torcular. 



PES'SULUS (scAudpov, ,udv8aAos, 
ica.Tox.ivs). A bolt for fastening a 
door (Ter. Run. iii. 5. 55. Id. Heaut. 
3- 37-), of which the annexed 




illustration affords a specimen, from 
a bronze original found at Pompeii. 
The doors of the ancients being 
generally bivalve had two, and some- 
times four bolts affixed to them, one 
at the top, and the other at the bottom 
of each leaf, which shot into sockets 
incavated in the lintel and sill of the 
doorway, still to be seen in many 
houses of Pompeii, whence the bolts 
are mostly mentioned in the plural 
when the closing and bolting of doors 
is spoken of (Plaut. Aid. i. 3. 26. 
I occlude fores ambobus pessitlis, Apul. 
Met. iii. p. 56. pessulis injectis\ Id. 
iv. p. 76. Id. i. p. 8. ) ; and some- 
times they could not be drawn back 
without a key, for which purpose 
the three-toothed key {clavis Laconica, 
p. 174.) was probably used (Apul. 
Met. i. p. 11. sub d it a clavi pessulos 
reduco ; though in this and other 
similar passages the pessuli may only 
mean the bolts of a lock, as we also 
apply our term with the same general 
acceptation. 

PETASA'TUS. (Cic. Fam. xv. 
17. Suet. Aug. 82.) Wearing the 
petasus, as described and illustrated 
under the following word. 

PET'ASUS {Trf.Tao-os). A common 
felt hat, with a low crown and broad 
brim, adopted by the Romans from 
Greece, and worn in both countries 
as a protection against the sun and 
weather. (Plaut. Pseud, ii. 4. 45. 
Aviph. i. I. 190. Compare Suet. Aug. 
82.) Hats of this kind were natu- 
rally made in many different shapes, 
according to individual caprice or 
fashion ; but the most usual form ap- 
proximated closely to that now worn 
by our country people and railroad 
labourers, with the exception of being 
fastened by strings, which either 
passed under the chin or round the 



PETA URISTA . 



PHALANGA. 



497 



back part of the head. Both of these 
manners are exhibited in the illustra- 
tions, the one from a Pompeian 




painting, the other from a Greek 
bas-relief. Most of the horsemen in 
the Panathenaic procession, from the 
Parthenon, preserved in the British 
Museum, wear the petasus ; and one 
of die conventional signs, adopted by 
the Greek artists, to indicate that the 
person represented was on a journey, 
consisted in depicting him with a 
petasus slung at the back of his neck, 
as seen on the figure at p. 147. 

PETAURIS'TA {^ravpi^s). 
One who performed feats of agility 
upon the machine termed petaurum 
(Festus s. v. Varro ap. Non. s. v. p. 
56. Pet. Sat. 53. 11.); but as the 
real nature of that object has not 
been ascertained, it is impossible to 
identify the character of those who 
exhibited themselves upon it. 

PETAU'RUM (t?4tolv P ov). A 
Greek word, signifying in that lan- 
guage a perch for fowls to roost on ; 
whence it was adopted, amongst the 
Romans more particularly, as the 
name for a contrivance or machine 
employed in the exhibition of certain 
feats of strength and agility, or in 
a game of mere amusement, like that 
of swinging. Its precise character, 
however, still remains involved in 
uncertainty, every attempt at a defi- 
nite explanation failing to reconcile 
itself with the different passages in 
which the word occurs, though each 
appears to be supported by some one 
or more of them. Amongst these 
the following are the most plausible 
conjectures hazarded. 1. A gene- 
ral term for all the apparatus used by 
rope-dancers, tumblers, and similar 
characters ; including the poles, ropes, 
hoops, &c, required for the different 



displays exhibited by them. 2. A 
long plank poised upon an upright at 
its centre of gravity, and working 
like our " see-saw," with one man at 
each extremity, and a third who 
stood upon the centre, and bounded 
j over the heads of the others on to the 
ground and back again, something 
like the exhibition displayed upon 
j the gem introduced s. Monobolon. 
I 3. A wheel suspended in the air, and 
j worked round and round by the 
j weight of two men standing upon it, 
j one above and the other below, who 
j also exhibited other feats of dex- 
terity whilst they thus kept it in 
motion. 4. A wheel, placed hori- 
zontally, like a potter's wheel, upon 
which the tumbler performed his 
evolutions, whilst the wheel itself 
was in a state of rapid rotation. The 
passages relied on for each of these 
interpretations are the following : — - 
Lucil. ap. Fest. s. v., or p. 87. 40. ed. 
Gerlach. Ma nil. Astron. v. 434. Juv. 
xiv. 265. Pet. Fragm. 13. Mart. ii. 
86. xi. 21. 

PETO'RITUM or PETOR'RI- 
TUM. A. four-wheeled open car- 
riage, amongst the Romans used 
chiefly for the transport of servants 
and attendants, but of which no re- 
presentation is known to exist. It 
was, however, of foreign origin, pro- 
bably introduced from Gaul, and de- 
rived from the Celtic words petoar, 
four, and rit, a wheel. Hor. Ep. 
ii. 1. 192. Id. Sat. i. 6. 104. Festus 
s. v. Aul. Gell. xv. 30. 

PH^ECASIA'TUS. Wearing 
shoes of the kind called phcecasia ; 
especially characteristic of the Greeks. 
Senec. Ep. 113. 

PHiECAS'IUM {(pauc<i(nov). A 
white shoe, proper to the Athenian 
gymnasiarchs and priesthood of 
Greece and Alexandria ; though also 
adopted by other classes of both 
sexes. Senec. Ben. vii. 21. Anthol. 
vi. 254. Pet. Sat. 67. 4. 

PHALAN'GA or PALAN'GA 
((pd\ay£). A strong round pole em- 
ployed by porters to assist them in 
2 1 



49§ 



PHALANGA. 



PBALERJE. 



carrying heavy weights, the ends \ 
being rested on their shoulders and 
the load suspended from it between i 




them at the centre of gravity, as in 
the annexed example, which repre- 
sents two of the soldiers on Trajan's 
column making use of the contrivance 
in question. Vitruv. x. 3. 7, 8, and 9. 

2. A wooden cylinder or roller in- 
tended for placing under objects of 
great weight to assist in moving 
them, as, for instance, under the bot- 
tom of a vessel, whilst being hauled j 
on shore, or launched from the beach. 
Non. s. v. p. 163. Varro, op. Non. 

/. c. Caes. B. C. ii. 10. 

3. Pieces of valuable wood, such j 
as ebony for instance, cut into trun- 
cheons or cylinders, as objects of 1 
merchandise. Plin. II. ffl. xii. 8. 

4. A truncheon employed as a i 
weapon in warfare, the origin of 
which is attributed to the Africans 
during their contests with the Egyp- 
tians (Plin. H. N. vii. 57.). These 
were probably cut out of some strong 
and heavy kind of wood ; but an 
instrument of iron, corresponding 
with the form and name of the wea- 
pon, has been discovered, amongst 
many other objects of an unique 
character, in a tomb at Paestum, 
together with a painting on the walls 
of the sepulchre, which represents a 
Greek warrior on horseback, carry- 
ing the truncheon and a shield sus- 
pended from his spear, as shown by 
the annexed illustration. The imple- 
ment itself, which is engraved at the 
bottom of the woodcut, is rather more 



than two feet long, not including the 
ring at the end ; and the manner in 
which it and the shield are earned in 




the picture above, renders it probable 
that they were represented as a 
trophy, which the owner of the tomb 
had really taken from some enemy in 
battle. The object and the painting 
identify the instrument with its name, 
which hitherto had not been accom- 
plished. 

PHALAXGA'RII or PALAN- 
GA'RII. Porters who carried things 
of bulk or great weight with the 
assistance of a strong pole {phalangd). 
Four, six, and even eight men by 
this means combined their strength 
for the transport of a single object, 
as shown by the annexed example, 
from a terra-cotta lamp, representing 
eight porters bearing a cask of wine, 
suspended in the maimer described. 




Vitruv. x. 3. 7. Inscript. ap. Fa- 
bretti, p. 10. 

2. Soldiers formed into a phalanx. 
Lamprid. Alex. Sev. 50. 

PH ALANGI'TIS (^aAayymj s ) . 
A soldier armed and equipped in the 
same manner as those of the Macedo- 
nian phalanx. Liv. xxxvii. 40. xlii. 51. 

PHAL'ER^E (to cpdhaya). Bosses 



PHALERA TUS. 



PHA RETRA TVS. 



499 



of gold, silver, or other metals, cast 
or chased with some appropriate de- 
vice in relief ; such, for instance, as 
the head of a god, image of a king 
or emperor, or other allusive design, 




and frequently having additional 
pendants, in the form of drops and 
crescents attached to them ; which 
were worn as ornaments upon the 
breast by persons of distinction, by 
soldiers as a military decoration, pre- 
sented by the commander for bril- 
liant services, and as an ornamental 
trapping for horses. (Liv. ix. 46. Sil. 




Ital. xv. Vinr. sEu. ix. 



Id, 



v. 310. Claud, iv. Cons. Honor. 549.) 
The illustration represents a collar 
formed of phalera, with pendants at- 
tached to each alternate boss, from an 
original preserved in the Museum of 
Antiquities at Vienna, and the manner 
of wearing them is explained and illus- 
trated by the two following examples. 

PHALERA'TUS. Wearing 
bosses {phaierce) of the precious me- 
tals, as a decoration to the person ; 
a practice originally characteristic of 
foreign nations (Suet. jVero, 30.), 
but. adopted from Etruria by the Ro- 
mans (floras, i. 5, 6. ), amongst whom 
they were chiefly employed as a mili- 
tary decoration for distinguished ser- 
vices, and worn in front of the chest 
{phaleris hie pectora 
fidget. Sil. Ital. xv. 
255.), attached to a 
broad belt, fastened 
over the bust, as ex- 
emplified by the an- 
nexed figure, repre- 
senting the portrait 
of a centurion in his 
military accoutre- 
ments, from a carving 
on his tomb ; seven 
phalercF are exhibited on his person 
three down the front of the breast 



j and two, the halves only of which 
I appear in the drawing, on each side. 

2. When applied to horses (Liv. 
j xxx. 17. Suet. Ceil. 19. Claud. 17.), it 
> designates an or- tpf^r 
■ nament of simi- A-^tM*^^., 

lar description, 
! sometimes af- j ygr , 

fixed to thehead- 
I stall, or to a ^ 
i throat collar, as 
in the example 
from a fictile 
vase, or to a martingale over the 
chest, as in the woodcuts at p. 264. ; 
where they hung as pendants (Plin. 
H.A T . xxxvii. 74. Compare Claud, iv. 
Cons. Honor. 549. ), shaking and shin- 
ing with every motion of the animal. 

PHAR'ETRA (cpaptrpa). A 
quiver, or case for arrows only, in 
contradistinction to corytus, a bow 
case, but which sometimes held the 
arrows as well as the bow. See the 
three following illustrations. 

2. A particular kind of sun-dial, 
which from its designation is sup- 
posed to have borne some resem- 
blance to a quiver ; but in the absence 
of any known example representing 
such a figure, the interpretation can 
only be regarded in the light of a 
conjecture. Vitruv. ix. 8. 

PHARETRA'TUS. Carrying a 
quiver (Virg. Hor. Ovid. Sec), 
which was practised amongst the 
ancients in three different ways: — 1. 
by suspending it horizontally between 




the shoulders and at the back, as 
; shown by the right-hand figure of 



500 PHARETR1GER. 



PHONASCUS. 




mnexed example, 



the first woodcut, so that the ar- j 
row was drawn out over the right | 
shoulder. 2. By suspending it low 
down the back so that the mouth 
came on a level with the left hip, as | 
in the left-hand example, when the I 
arrow was extracted by passing the ; 
hand across the belly. Both these j 
figures personify the goddess of the 
chase, the first from a medal, the 
other from a terra-cotta lamp. 3. Or j 
lastly, by sling- 
ing the quiver 
across the back, 
with its mouth 
towards the 
right elbow, so 
that the arrows 
were taken out 
by passing the 
right hand be- 
hind the back, 
in the manner 
exhibited by the 

from a Greek marble, representing a 
Phrygian archer. The three figures ; 
will also explain many passages, j 
more especially in the Greek poets, j 
where the epithets used distinctly 
imply one or other of the different ! 
arrangements exhibited above. 

PHARET'RIGER. Sil. Ital. xiv. 
286. Same as Pharetratus. 

PHARMACOPO'LA. {<p ap ^aKo- 
TTuAris). One who makes and vends 
quack medicines (Hor. Sal. i. 2. I.); 
not a legitimate dealer or practitioner, 
but one of the class of mountebanks, 
still common in Italy and other 
countries, who frequent the public 
market places (Cic. Cluent. 14. cir- ! 
cumforanens), where they hold forth j 
the virtues of their nostrums in a | 
loud and fluent discourse (Cato ap. 
Geil. i. 5. 3. ) to the ignorant multi- 
tude. 

PHAR'OS and PHAR'US 
((pdpos). A light-house, so termed 
after the celebrated tower built by 
order of Ftolemy Philadelphus, on 
the island of Pharos, at the entrance 
to the port of Alexandria, which 
became a general model for most 




others (Plin. H. N. xxxvi. 18. Solin. 
32. Suet. Tib. 74. Stat. Sylv. iii. 5. 
100.) The illustration represents a 
light-house on a medal of the Em- 
peror Commodus, 
composed of a 
circular tower ; 
others are met 
with of a square 
form ; and the 
Roman light- 
house at Dover 
Castle, of which 
considerable re- 
mains are still vi- 
sible, is of an octa- f - 
gonal figure ; but 
they all present the same general 
features of a tall tower in several 
stories, diminishing upwards, with 
windows turned towards the sea, at 
which torches were kept burning for 
beacons during the night. 

PHASE'LUS. See Faselus. 

PHIAL'A {(pidX-n). Only a Greek 
word Latinized, for which the genuine 
Latin term is Patera, where an ex- 
planation and illustration are given. 

PHIL'YRA or PHIL'URA 
{(piKvpa). A thin strip cut from the 
inner coat of the papyrus, in order to 
make a sheet of writing paper. This 
was effected by glueing together a 
number of these strips, sufficient for 
the size of the sheet required, and 
then consolidating it by a number of 
similar layers fastened cross-ways at 
the back, which gave the requisite 
texture to the whole, and prevented 
the sheet from splitting in the di- 
rection of the fibres. Plin. H. N. 
xiii. 23. 

PHPMUS {(pifxbs), Hor. Sat. ii. 7. 
17. The Greek name for a dice-box 
Latinized, for which the genuine 
Latin term is Fritillus, under which 
the word is explained and illustrated. 

PHLEBOT'OMUS {QtePorS/xos). 
A lancet or fleam for blood-letting. 
Veg. Vet. i. 19. 

PHONAS'CUS {<puva<TK6s). One 
who teaches the art of regulating the 
voice ; as a singing-master ( Varro ap. 



PHR YGIO. 



PICT LIRA. 50I 



Non. s. Suscitabulum. Suet. Nero, 
25. ) ; or as a master of elocution. 
(Suet. Aug. 84. Quint, ii. 8. 15. xi. 
3- 19.) 

2. In later times the leader of a 
chorus or band of singers (Sidon. Ep. 
iv. 11. ), for which the proper word is 
Precentor. 

PHRYG'IO. An embroiderer, for 
which art the Phrygians were much 
renowned. Plaut. Aul. iii. 5- 34- 
Men. ii. 3. 77. Serv. ad Virg. sEn. 
iii. 484. 

PHRYGIO'NIUS. Embroidered. 
Plin. H. N. viii. 74. 

PHYL'ACA {(puXuKYi). Plaut. 
Capt. iii. 5. 93. A prison or place 
of custody ; it is only a Greek word 
Latinized. See Carcer and Er- 

GASTULUM. 

PICTOR (ypcupevs). A painter or 
artist who exercises any branch of the 
pictorial art. (Cic. Acad. iv. 7. Hor. 
A. P. 9. ) The illustration represents 
a portrait painter taking the likeness 
of a person who is sitting before him, 
from a design on the walls of a house 
at Pompeii, which, though a palpable 
caricature, affords a very good idea 
of the interior of a Roman artist's 
studio. He sits upon a low stool in 




front of his easel, with a tray of 
colours beside him, and a pot of 
water to cleanse the only brush he 
uses ; both which circumstances indi- 
cate an artist in water-colours, or in 
that style of encaustic painting in 
which the colours were laid on with 
a liquid brush (see Encaustica). 
Fronting him is the sitter, and behind, 
at the further end of the room, a 
pupil drawing on his board ; while 
two assistants are engaged on the 
right in preparing the colours, pro- 
bably mixed with wax, in a shallow 



] pan placed over some hot coals, a 
j further indication of the encaustic 
j process. 1'he heated coals, observable 
j in the original, are lost in our en- 
graving, from the inadvertence of the 
j draughtsman, or in consequence of 
the very reduced scale upon which 
the drawing is executed. It will be 
remarked that the artist does not use 
S a palette, which would not be re- 
j quired for either of the styles men- 
■ tioned ; but other examples amongst 
j the Pompeian paintings exhibit a 
j palette in the left hand (Mus. Borb. 
j vi. 3. ), of similar form to those used 
! at the present day. Nevertheless, it 
is extremely probable that this article 
was not much employed by the 
ancient painters, as no name for it is 
j known to exist either in the Greek or 
Latin language. 

PICTU'RA (ypacp-o). A drawing 
! or painting with lines or colours ; 
j thence the object itself so drawn or 
[ painted, a picture ; of which the fol- 
lowing kinds are enumerated. 

1. Pictura in tabula. (Cic. Verr. 
ii. 4. 1. Quint, vi. 1. 32.) A paint - 

I ing on wood or panel, mostly on a 
I slab of larch, and frequently fitted 
j with two folding doors to shut in 
the picture and 
preserve it from 
dust and dirt, 
as shown by the 
annexed exam- 
ple, from a de- 
sign at Pompeii, 
representing a 
picture on panel 
hung over a doorway, and also illus- 
trating the manner in which such 
works were suspended. 

2. Pictura in linteo, or, in sipario. 

(Plin. H. N. t n 

xxxv. 33. 
Quint. I. c.) A 
painting on can- 
vas, a mate- 
rial probably 
brought into use 
at a much later u u 

1 date than wood; but clearly represented 





502 P1CTURATUS. 



PI LA. 



by the annexed example, from a 
design at Pompeii, which also shows 
the frame upon which it was stretched 
very similar to those now employed 
for embroidery and worsted working. 

3. Pictura inusta. (Plin. H. N. 
xxxv. 39. Ib. 31.) A painting in 
coloured wax, burnt in by the action 
of heat, descriptive of one of the pro- 
cesses employed in encaustic painting. 
See Encaustica. 

4. Pictura udo tectorio. Vitruv. 
vii. 3. 6. A fresco-painting ; that is 
executed upon a wall coated with 
very fine cement, made of marble 
dust and chalk, and painted while 
the cement is still wet. 

5. Pictura textilis. (Cic. Verr. ii. 
4. 1. Lucret ii. 35.) A picture 
worked in embroidery ; a very early 
invention, for which the natives of 
Phrygia were celebrated ; hence acu 
pictns means embroidered. 

PICTURA'TUS. Painted in 
colours ; and, when applied to dra- 
pery, embroidered. Virg. A£n. iii. 483. 

PPLA, with the first syllable long 
(iy5-n). Properly a deep mortar 
[alia, Ov. /bis, 573.), in which 
things were brayed and pounded 
into an impalpable substance (Plin. 

H. N. xviii. 29. 
§ 2. ), by beating 
down with a pestle 
of great size and 
weight (see Pilum 

I . ) ; whence the 
Greek terms tySts 
and 'iySiajj.u also 
designate a dance, accompanied with 
much stamping of the feet. The an- 
nexed example is from an original 
discovered at Pompeii ; and is thus 
distinguished from mortarium, a mor- 
tar of smaller dimensions, in which 
ingredients were kneaded and mixed 
together ; but the distinction is not 
always observed with accuracy. 

2. (irzcraos). A pillar, or pier of 
an oval-shaped form, such as was em- 
ployed under water for supporting 
the superstructure of a bridge (Liv. 
xl. 51. Suet. Claud. 20. Senec. Q. IV. 




vi. 30.) ; as a monument to receive 
an inscription (Nep. Ale. 4.); in 
front of a bookseller's shop, on which 
the catalogues were exposed to view 
(Hor. Sat. i. 4. 71.); or other pur- 
poses of a congenial nature. 

3. (ivdo/xrjcTLs). A pier or break- 
water (Virg. sEn. ix. 71 1.), which is 
always rounded at the end, and in its 
entire mass from the base to the top 
at low water presents a figure of 
nearly similar form to the other 
objects expressly characterized by 
the same term. 

PI LA, with the first syllable short 
(aepcupa). A ball for playing the 
game of ball ; as a general term in- 
cluding the four distinct kinds used 
by the ancients ; viz. Pollis, Harpas- 
tum, Paganica, and Trigon, each of 
which is described under its own 
specific name. 

2. Pilapicta. (Ov. Met. x. 262.) 
A playing-ball, of which the outside 
leather was painted of different co- 
lours, and ornamented with tasty 
devices ; frequently represented on 
the fictile vases, as an accessory in 
scenes illustrative of life in the Gym- 
nasium, or of female amusements, 
from one of which the annexed spe- 
cimen is copied, where it is 
exhibited amongst various 
other trinkets, working and \~T"f^ 
playthings, suspended from 

the tomb of a young Greek lady. It 
would appear that green was a fa- 
vourite colour for this purpose (pra- 
sina pila, Pet. Sat. 27. 2. ) ; whence 
the same is designated by the term 
vitrea, in an inscription (ap. Grut. 
torn. i. p. 2. 1537), that is, ofaglassy 
or greenish hue, like the colour of 
water ; as vitrea unda (Virg. Ain. 

vii. 759.), vitrea sedilia (Id. Georg. 
Lv. 350.). 

3. Pila vitrea. (Senec. Q. N. i. 6.) 
A glass globe filled with water for the 
purpose of being placed between a 
person and the object he is contem- 
plating, in order to magnify the object 
and render it clearer to the view ; a 
custom still adopted in wood engrav- 



PI LA. 



PILAR I US. 



ing and other occupations, requiring j 
a strong and clear light which will J 
not prejudice the sight. It would 
also appear from the above passage j 
of Seneca that this contrivance was 
sometimes employed by the ancients j 
to assist an imperfect or failing sight, 
in the place of our spectacles ; for these 
useful articles were not discovered j 
before the commencement of the 14th j 
century, being invented by a Floren- 
tine named Salvino degli Amati, who 
died in 1317, as testified by the epi- 
taph inscribed upon his tomb (Manni, 
Dissert, degli Occhiali, p. 65. ). It j 
must, however, be remembered that 
the ancients, who employed a nume- 
rous class of well-educated slaves in 
the character of readers, secretaries, 
and amanuenses, did not stand so 
much in need of an artificial assist- | 
ance for the eye-sight as we do. 
Another meaning of the expression 
pili vitrea is explained in the pre- 
ceding paragraph. 

4. Pila Mattiaca. (Mart. xiv. 27.) 
A ball of German pommade, em- 
ployed by the ladies of Rome and 
young men of fashion, to tinge the 
hair of a light or fair colour. It was 
composed of goats' tallow and beech- 
wood ashes made up into a ball, 
which received its distinguishing epi- 
thet from the town of Mattium {Mar- j 
purg) from whence it was imported. 

5. A balloting-ball ; employed as a i 
means for selecting what judge should j 
try a cause, and prevent the packing 
of the bench against the interest of 
either party. For this purpose a 
certain number of balls, with the 
names of different judges inscribed 
on them, were put into a box, and 
thence drawn out by lot, in the same 
spirit as we strike a jury, each party 
having the right to challenge and 
reject any obnoxious or presumedly 
partial judge. Prop. iv. 11. 20., and 
Ascon. Argument. Milon. 

6. A:i effigy or Guy, clumsily made 
out of old pieces of cloth stuffed with ' 
hay, employed to try the temper of 
some animals, bulls and buffaloes, : 



when baited ; or to infuriate them if 
they appeared tame and impassive ; 
a practice still continued at Mola, on 
the bay of Gaeta, upon a certain 
festival, at which it is customary 
for buffaloes to be baited in the main 
street. Mart. Sped. 19. Ascon. ad 
Cic. Fragm. pro C. Cornel. 

PILA'NI. The oi'iginal name by 
which the soldiers composing the 
third line or division of the old Ro- 
man legion were distinguished, be- 
cause they alone at that time were 
armed. with the heavy javelin or 
pilum, the other two using the spear 
or hasta. But when the pihtm was 
adopted for all the three divisions, 
the title of Triarii was substituted for 
that of Pilani, with which it becomes 
thenceforth synonymous (Varro, L.L. 
v. 89. Paulus ex Fest. s. v. Ov. Fast. 
iii. 129.). Subsequently, however, to 
this period, and towards the close of 
the republic, when the custom ob- 
tained of drawing up an army by 
lines in cohorts, the distinctive 
character, as well as the name of 
Pilani or Triarii was abandoned, be- 
cause it no longer represented any 
real distinction. 

PILA'RIUS. One who exhibits 
feats of dexterity with a number of 
balls, similar to the Indian juggler 
(Quint, x. 7. 11. Inscript. ap. Fabrett. 
p. 250. n. 2.), by throwing them up 
with both hands, catching them on, 
and making them rebound from, the 




inner joint of the elbow, leg, forehead, 



504 PILE AT US. 



PI LEO L US. 



and instep, so that they kept playing 
in a continuous circle round, his per- 
son without falling to the ground, as 
minutely described by Manilius (As- 
tron. 169 — 171. ), and as exhibited by 
the annexed figure from a Diptych in 
the Museum at Verona. The player 
is performing with seven balls, in a 
handsome building (the scena pilario- 
rum of Quint. /. c. ), whilst a number 
of boys and other persons stand round, 
and look on. Two figures in pre- 
cisely the same attitude, and with the 
same number of balls each, are sculp- 
tured on a sepulchral marble in the 
collection at Mantua. Labus. Antich. 
di Mantova. torn. ii. 

PILEA'TUS (TwAo^o'pos). Boil- 
netted ; that is, wearing a felt-cap 
termed pileus, the 
ordinary head- 
covering of sail- 
ors, fishermen, 
and artisans, as 
well as of the 
twin brothers, 
Castor and Pol- 
lux, who are / - 
thence styled 
fratres pileati 
(Catull. 37. 2.); amongst the Greeks 
and Romans usually worn without j 
strings, and put on in such a manner ! 
as to leave the ends of the hair just 
visible all round its edges, as ex- 
hibited by the annexed example, re- 
presenting Ulysses on an engraved 
gem. Liv. xxiv. 16., and PlLEUS. 

2. Pileata Roma, — pileata plebs, — - 
pileata turha. Expressions employed i 
to indicate the period of the Saturna- 
iian festival, or carnival of ancient | 
Rome ; because at that fete all the j 
people wore caps as a token of the 
general liberty permitted during those i 
days of revelry and rejoicing, and in j 
allusion to the custom of presenting a j 
-pileus to the slave who had regained i 
his liberty. Mart. xi. 6. Suet. Nero, \ 
57. Sen. Ep. 19. 

3. Pileati servi. (Aul. Gell. vii. 1 
4. ) Slaves whose heads were covered 
with a pileus, when put up for sale, 




as a token that their owners could 
not warrant them. 

PILEN'TUM. A state carriage 
used by the Roman matrons and 
ladies of distinction on gala davs and 
festivals, instead of the Carp'entum, 
which they employed on ordinary 
occasions. (Liv. v. 25. Vixg.^n. viii. 
666. Festusj.z/.) We have not suffi- 
cient data for deciding the precise 
character of this conveyance, further 
than what is collected generally and 
by implication from the terms in 
which it is spoken of ; whence it 
appears to have been raised to a 
stately height, of easy motion, with a 
cover over head, but open ail round, 
and, sometimes, if Isidorus ( Orig. xx. 
12.) be correct, furnished with four 




wheels. The figure in the illustration, 
from a medal of the Empress Faus- 
tina, agrees with many of these par- 
ticulars ; and although it cannot be 
pronounced authoritatively as an ac- 
curate representation of the carriage 
in question, may serve to convey a 
notion of what it was like, and how 
it differed from the ordinary carpen- 
tum. The circumstance of being 
drawn by lions instead of horses or 
mules, may be a piece of mere ar- 
tistic exaggeration ; but under the 
extravagant habits of the empire, we 
meet with various instances of wild 
animals being tamed and yoked for 
draught. 

PI'LEOLUS [viKiliov). Dimi- 
nutive of pileus : a small and shallow 
skull-cap, made of felted wool, which 
just covered the top part of the head, 
leaving the hair over the forehead 
and at the nape of the neck entirely 



PILE US. 



PIL UM. 




free (Hieron. Ep. 85, 
pare Id. Ep. 64. n. 
worn by the Romans 
as a protection for the 
head even indoors 
(Hor. Ep. i. 13. 15.); 
thus resembling in its 
use, as it did in form, 
the little cap (French, 
calotte; Italian, ber- 
rettino), which a car- 
dinal and some of the 
Catholic priests put on to cover their 
tonsures when they take off their j 
hats, and winch is exactly similar | 
to the example in the annexed illus- j 
tration, from an engraved gem, be- 
lieved to contain the portrait of Alex- | 
ander the Great. 

PI'LEUS or PI'LEUM [m\os, m- 
Xcdtou). A cap, properly speaking, 
of felt, and worn by men as contra- 
distinct from those which were worn 
by women (Plaut. Amph. i. 1. 300. 
Mart. xiv. 132. Serv. ad Virg. yEn. 
ix. 616). They naturally varied in 
form amongst different nations of an- 
tiquity, but still preserving the same 
general characteristics of a round cap 
without any brim, and fitting close or 
nearly so to the head, as exemplified 
by the specimens annexed, which re- 
present three of the most usual forms 



a pill in medicine. Plin. H. N. 
xxviii. 37. 

PILUM {kottolvov). A large and 
powerful instrument for bruising and 
braying things in a deep mortar 
(pila) (Cato, R. R. x. 5. Plin. H. N. 
xviii. 23). It was held in both 
hands, and the action employed when 
using it was that of pounding by- 
repeated blows, as shown by the 
annexed example from an Egyptian 
painting, whence the operation is 
described by connecting it with such 
words as tundere (Pallad. i. 41. 2.), 
contundere (lb. 3.) ; whereas theordi- 




occurring in works of art. The first 
on the" left shows the Phrygian 
bonnet from a statue of Paris. The 
centre one the Greek cap, mostly 
egg-shaped, as here, from a bust of 
Ulysses ; and the last, the Roman 
cap of liberty, from a coin of Brutus. 

PILPCREPUS (Sen. Ep. 56). 
The correct meaning of this word is 
doubtful ; but it is supposed to desig- 
nate one who played a game at ball 
of the same nature as our tennis. 

PI'LULA. Diminutive of Pila. 
Any small globe or ball ; especially 




nary pestle (pist ilium) was used with 
one hand, and stirred round the mor- 
tar [mortarhim\ with an action 
adapted for kneading and mixing, 
rather than pounding ; but the dis- 
tinction between these two words is 
not always preserved. 

2. (uaaos). The pilum, or national 
arm of the Roman infantry. It was 
a very formidable weapon, used 
chiefly as a missile, but also serving 
as a pike to thrust with when occasion 
required, though shorter, stronger, 
and larger in the head than the hasta 
or spear. It seems to have varied 
somewhat in length at different 
periods, the average being near about 
six feet three inches from point to 
butt. The shaft, which was made of 
wood, was square at the top, and of 
exactly the same length as the head, 



506 



PIL UM. 



PINNA. 



which was formed of iron ; and this, 
when riveted on to the shaft, covered 
one half of its length, leaving about 
nine inches of solid metal projecting 
as a head-piece beyond (Liv. ix. 19. 
Flor. ii. 7. 9. Veg. Mil. ii. 15. Sil. 
Ital. xiii. 308. Polyb. vi. 23. Id. 
i. 40). It appears a remarkable cir- 
cumstance that we should have no 
authentic specimen remaining of this 
national weapon, either as the product 
of excavations, or in artistic repre- 
sentations, by which its exact form 
and character might be ascertained 
from demonstrative evidence. But 
as the head was made of iron, a ma- 
terial which suffers greatly from cor- 
rosion underground, when found, it is 
always so much eaten away and dis- 
figured by rust as to have lost all 
distinctive character ; and the figures 
on the columns, triumphal arches, and 
other sculptures illustrative of mili- 
tary scenes, are for the most part 
intended for officers, not soldiers of 
the rank and file, consequently who 
would not use the pilum ; or, if the 
common soldiers are brought into a 
prominent position, they are engaged 
as fatigue parties, felling timber, col- j 
lecting forage, transporting pro- 
visions, making stockades, raising ! 
field works, and such other duties as 
would preclude the artist, even if he j 
wished it, from introducing offensive 
weapons into the scene. Moreover, 
the unartistic effect which would be 
produced by a forest of straight lines, 
the difficulty also attending the exe- 
cution of such objects in sculpture, 
and the fragile nature of the object 
itself when caiwed in relief, induced 
the ancient sculptors, as a general 
rule of their art, to omit accessories 
of this kind in their works, and to 
content themselves with making the 
action represented obvious and un- 
mistakeable by the mere truthfulness 
of attitude and gesture. These reasons 
and motives will account for the want 
of an illustration, the absence of 
which might otherwise appear an un- 
reasonable omission. But it may be 



suggested that the implement held by 
the figure in the last woodcut will 
also afford a probable proximate idea 
of the pilum of a Roman soldier ; the 
description of which above given, and 
collected from various written au- 
thorities, corresponds in* a remarkable 
manner, both as respects the square- 
ness of the upper part, and relative 
proportions between the head and 
shaft, with the instrument there 
figured, which resemblance will thus 
explain why both objects were desig- 
nated by the same name. 

PINACOTHE'CA (muaKodticTi). 
A picture gallery ; an apartment 
usually comprised in the houses of 
the wealthy Greeks, and of the Ro- 
mans, after they had acquired from 
them a taste for the arts. Vitruv. i. 
2. 7. Id. vi. 3. 8. Plin. H. N. 

XXXV. 2. 

PINCER'NA (oluo X 6os). A cup- 
bearer ; a slave whose duty it M r as to 
mix the wine, fill the cups, and hand 
them round to the guests at table. 
They were in general young persons 
selected for the comeliness of their ap- 
pearance, who wore their hair flowing 
on their shoulders, and 
a short tunic ; and had 
particular attentionbe- 
stowed upon the clean- 
liness of their persons 
and attire (Ascon. in 
Verr. ii. 1. 26. Lam- 
prid. Alex. Sev. 41). 
All these particulars 
are exhibited in the 
annexed figure, from 
the Vatican Virgil ; 
the long trousers and 
mantle indicate a youth of foreign, 
and probably Phrygian, extraction. 

PINNA (TrrepoV). The blade of 
a rudder {gubernaculum ) : which 
among the ancients was little more 
than a large oar having a broad blade 
at the extremity, with two drooping 
points, like the feather ends of birds' 
wings, from which it received the 
name, as in the annexed example, 
from a bas-relief found at Pozzuoli. 




PINNA. 



PISCINA. 



If the blade was rounded at the bot- 
tom like a common oar, as Mas 




frequently the case, it still retained 
the same name ; but the resemblance 
was drawn from a single feather, 
which has the quill in the centre, and, 
as it were, a blade with an edge on 
each side of it, like a double axe. 
Non. s. Bipennis, p. 79. 

2. A turret, or notched battlement, 
along the top of a wall, fortress, 
tower, &c. (Varro, L. L. v. 142. 
Claud. Quadrig. ap. Cell. ix. 1. 




Virg. sEn. vii. 159). Some gram- 
marians deduce this meaning of the 
word from a fancied resemblance to 
the feathers or wings worn by the 
Samnite soldiers and gladiators at the 
sides of their helmets (see the illus- 
tration s. Samnites) ; others from 
the turret being acuminated or 
bevelled upwards into an edge, like 
a feather, in the manner shown by the 
annexed illustration, which represents 
two turrets on the city walls of Pom- 
peii, viewed from the inside of the 
ramparts. It will also be observed 
that they are ingeniously contrived 
with a shoulder, or returning angle, 



: which protected the defenders from 
! missiles coming with a slant against 
their left sides. 

3. A paddle ox float board attached 
to the outside of a water wheel {rota 

I aquaria), upon which the current 
J acts to produce rotation. Vitruv. x. 
I 5. 1. 

4. A register or stop in a water 
organ. Vitruv. x. 8. 4. 

PINNIR'APUS. Any gladiator 

: matched with a Samnite or Thracian, 
each of whom wore feathers {pin nee) 
in their helmets (as shown by the il- 

I lustrations to those words) which it 
was an object of their opponents to 

i snatch away, whence the name arose. 

: Juv. iii. 158. Schol. Vet. ad I. 

PINS OR. An early form for 

! Pistor. Varro. de Fit.' P. R. ap. 
Non. p. 152. 

PISCATOR (aAietfs). A fisher- 
man, understood, like our own term, 
in the same general sense of one who 
takes fish in salt or fresh water, with 
the net or line ; and also a fish-?nan 
who sells through the town the fish 
he has taken himself. Plaut. Capt. 
iv. 2. 34. Terent. Fun. ii. 2. 26. 
Inscript. ap. Fabretti, p. 731. n. 450. 

I piscatores propola. 

PISCTNA [IxQvnrpocpilov). A 

j stew or stock pond for fish, an usual 

! appendage to the villa residences of 
the wealthy Romans. Aul. Gell. ii. 
20. 2. Cic. Ait. ii. 1. Varro, R. R. 

t iii. 17. Columell. viii. 17. 

2. A large swimming bath in the 
open air (Plin. Ep. v. 6. 25.), either 
of tepid water warmed by the heat of 
the sun, or from a naturally warm 
spring (Id. ii. 17. II. Suet. Nero, 
31.) ; but sometimes reduced in tem- 
perature by the admixture of snow 
(Id. Nero, 27.). It differs from the 
baptistcrium, in not being under cover 
and generally colder. 

3. Piscina limaria. A clearing 
tank, constructed at the commence- 
ment or termination of an aqueduct, 
for the purpose of allowing the water 

I to purify itself by depositing its sedi- 
ment before it was transmitted 



508 PISCINA. 



PIS TR IN A. 



through the city (Frontin. Aq. 15. 
19.). Many remains of such works 
have been discovered in different 
parts of Italy, some of which are 
constructed upon a scale of very great 
extent and magnificence ; but the 
annexed illustration, representing the 




plan of one which formerly existed 
under the Pincian hill {collis hortu- 
lorum), and served to purify the aqua 
Virgo, though small and inconsider- 
able as compared with many others, 
will explain the general nature of these 
structures, and the manner in which 
they operated. A A represents the 
duct or water course of the aqueduct, 
which discharges its waters into the 
chamber B, where the onward course 
of the stream is arrested, and ceases 
to flow, c is an aperture in the floor 
of the chamber, through which the 
water descends into another vault, D, 
below the level of the duct, at the 
bottom of which the sediment con- 
tained in the water deposits itself. 
E, another aperture through which the 
water passes on to a second vault, F, 
also below the level of the duct, and 
in which it continues to throw down 
any remaining deposits. From this 
it rises through the aperture G, into 
an upper chamber, H, and again re- 
stores itself in a purified state to the 
duct 1 1 which it had left on the op- 
posite side. The door-way, K, at the 
bottom of the lower chamber on the 
right hand, is a sluice-gate (cataracta) 
through which the mud and other 
impurities were discharged into the 
sewers. 

4. A tank, or basin of water, in the 



I atrium or peristylium of private 
houses (Pet. Sat. 62. 7, ); more usually 
termed Impluvium, which see. 

5. Any large wooden vat for hold- 
ing water. Plin. H. N. xxxiv. 32. 

PISTILLUM or PISTILLUS 
{vir4pov). Our pestle; an instrument 
with a bluff head ( Hieron. Ep. 69. 
n. 4. ) used with a mortar {morta- 
rium, Plant. Aul. i. 3. 17.), for i] 
kneading, mixing, and stirring j 
I things round (Virg. Moret.m.. 102. f 
I and the Greek proverb hiripov f| 

TTepia-Tocpr}) ; whereas the pilum ^ 
j was a larger implement, used with 
; an action of pounding and braying in 
a deep vessel termed pita. The ex- 
i ample represents an original pestle 
j found amongst some ruins of Roman 
building, excavated when making 
the approaches to London Bridge, 
and resembling in every respect 
those now in use ; but an epigram 
(ap. Sympos. 85.) implies that the 
Romans also made pestles with a 
double head, one at each end, like 
our dumb bells ; and the two words 
pistilium and pilum, as well as the 
Greek names which correspond with 
them, are frequently interchanged 
with each other without regard to 
the accurate notion they contained. 

PISTOR. Literally one who 
pounds and brays things in a mor- 
tar ; thence, more specially, a miller, 
because in very early times, before 
the invention of mills for grinding, 
the corn was brayed into flour with a 
very heavy pestle, in the manner 
represented by the figure s. Pilum i. ; 
and subsequently the same word also 
signified a baker (Greek aproiroios), 
because those tradesmen always 
ground the flour with which they 
made their bread. Varro ap. N on. s. 
Pinsere, p. 152. Plin, H. N. xviii. 
28. Varro, ap. Gell. xv. 19. 

2. Pistor dulciarius. A confec- 
tioner. Mart. xiv. 222. 

PISTRIL'LA. Diminutive of 
Pistrina. Terent. Adelph. iv. 2. 45. 
PISTRINA. (Plin. H. A 7 , xviii. 
I 20.) Same as Pistrinum. 



PISTRINUM. 



PLAGULA. 509 



PISTRI'NUM {fxvXAv), Origi- 
nally signified the place where corn 
was brayed,into flour by means of a 
large pestle and deep mortar, in the 
manner shown by the figure s. PiLUM 
1. ; but after the invention of mills, 
for grinding (Mola), the same term 
was retained to designate the mill- 
house (Terent. Phorm. ii. I. 19. Cic. 
Or. i. 11.), where the mills were 
driven by slaves, cattle, or water 
(Pallacl. i. 42.); and which, in con- 
sequence of the laborious exertion 
required for grinding by hand, as 
well as the continuousness of the toil, 
for they were frequently kept going 
by night as well as day (Apul. Met. 
ix. p. 183.) was commonly used as a | 
place of punishment for offending 
slaves, where they were made to j 
undergo a period of imprisonment 
with hard labour. Plaut. passim. 

PIS'TRIS or PRIS'TIS, and 
PIS'TRIX or PRISTIX {irlarpis j 
and TrplcTTis). A sea monster (Florus, 
hi. 5. 16. Pliri. //. N. ix. 2.); but 
always represented by the ancient [ 
artists with the same characteristic i 
features as are exhibited in the an- j 




nexed illustration from a painting at I 
Pompeii, viz. the head of a dragon, j 
the neck and breast of a beast, with 
fins in the place of front legs, and 
the tail and body of a fish (Virg. AZn. 
hi. 427.); a form generally adopted | 
by the early Christian artists to re- 
present the whale which swallowed 
Jonah. 

2. The name given to a particular 
class of ships of war (Liv. xxxv. 26. 
Polyb. xvii. I. 1.), doubtless from a 
certain resemblance in general form 
to the above figure ; perhaps from 
the bow rising very high out of the j 



water, like the head and neck there 
portrayed. In Virgil {AL11. v. 116.) 
pistris is the adopted name of a 
vessel, after the image of this mon- 
ster borne on its bows as a figure-head 
{insigne). See the woodcut at p. 325. 

PITTAC'IUM [TriTrdKioy). A 
slip or bit of paper, parchment, or 
leather for writing on ; especially as 
a label for a wine bottle, on which 
the date of the vintage, quality of the 
wine, and time of bottling, was in- 
scribed. Pet. Sat. 34. 6. Ib. 56. 7. 

2. A piece of linen spread with 
ointment to form a plaster. Laber. 
ap. Gell. xvi. 7. Celsus, iii. 10. 

PLACEN'TA (ir\aKovs). A thin 
flat cake made of wheat flour, mixed 
with cheese and honey, but of con- 
siderable size, so that it would cut 
up into a number of separate pieces, 
for each of the guests present. Cato. 
R. R. 76. Hor. Ep. i. 10. 11. Com- 
pare Sat. ii. 8. 24. 

PLAGA (eW5<of). A hunting net, 
intended to be drawn across a road, 
opening, or ride in the cover, in 
order to prevent the game from 
getting out of bounds. (Grat. Cyneg. 
300. Hor. Epod. 2. 23. Lucret. v. 
1250. Compare Serv. adVirg. ^En. 
iv. 131.) Though the exact nature 
and character of this net is open to 
dispute, yet it would appear from a 
general comparison of the passages 
in which mention of it occurs, that it 
was similar in form and use to the 
Rete ; with the exception of being 
smaller, and employed as a subsidiary 
to the larger one, across narrow and 
confined passes, which would other- 
wise give an inlet into the open 
country. 

2. Same as Plagula. Afranius 
and Varro, ap. Non. s. v. pp. 378. 537. 

PLAG'ULA. Diminutive of 
Plaga, but applied with the following 
special senses : — 

1. A curtain or a rideau, suspended 
like a net round the couches of a 
triclinium to keep off the dust or cur- 
rents of air from the guests reclining 
at table, as in the annexed example 



510 PLAGUNCVLA. 



PL A USTR UM. 



from a bas-relief in the British Mu- 




seum. Li v. xxxix. 6. 

2. A curtain which could be drawn 
or withdrawn round the sides of a 
palanquin {lectica), so as to seclude the 
inmate when desired, or convert the 
whole into an open carriage. Suet. 
Tit. 10. and illustration s. Lectica. 

3. A breadth of cloth, two or more 
of which, when sewed together, make 
up a dress. Varro, L. L. ix. 79. 

4. A strip or file of paper, several 
of which, when glued together, make 
up a sheet. Plin. H. N. xiii. 23. 

PLAGUN'CULA (irAayy«H- A 
wax doll. Cic. Att. vi. Ernesti, Clavis, 
s. v. Callim. Dem. 92. Pupa. 

PLA'NIPES. An actor who 
played a part in a spe- 
cies of low farce, termed a 
mime {mimus), and who 
received that designation 
because he came upon 
the stage with naked feet, 
without either the cothur- 
nus or soccus, planis pedi- 
bus, i.e. 11011 arte exaltatis. 
(Diomed. hi. 487. Aul. 
Gell. i. 11. 7. Macrob. 
Sat. ii. 1.) The illustra- 
tion is from an engraved 
gem. 

PLAS'TES (TrAao-TTjs). 
models works of art in clay or wax. 
Veil. i. 17. 4 Plin. H. N. xxxv. 45. 

PLASTIC A'TOR. (Firm. Matth. 
viii. 16.) Same as preceding. 

PLATEA and PLAT'EA (ttAcx- 
Te?a, sc. 686s). A broad or principal 
street in a town, as contradistinguished 




from a bye-lane or back-street {angi- 
portus) in the same. Ter. Audi: iv. 
5. 1. Hor. Ep. ii. 2. 71^ Caes. B. C. 
i. 27. Hirt. B. Alex. 2. 

PLAUSTRA'RIUS {afxa^oirriySs). 
A wagon maker or cartwright. Lam- 
prid. Alex. Sev. 24. 

2. {aixa^vs. ) A wagoner. U\p.B>ig. 
9. 2. 27. and woodcut, s. Plaustrum 
Majus. 

PLAUS'TRUM {'dixa^a). A 
wagon on two wheels usually drawn 
by oxen, and particularly employed 
in country occupations for the con- 
veyance of heavy loads and produce 
of every description. (Plaut. Aul. 
iii. 5. 31.) Though we make use of 
the term wagon as the nearest cor- 
responding expression for the Roman 
plaustrum, that by no means suggests 
a true notion of the actual object, 
which in reality consisted of nothing 
i more than a strong platform of boards 
I placed upon a pair of wheels, that were 
: not radiated with spokes {radii), but 
I formed out of a flat drum or tam- 
bour of solid wood {tympanum), fixed 
permanently to the axle, so that the 
whole, both wheels and axle, revolved 
together ; and this explains why the 
plaustrum is usually spoken of as a 



One who 




noisy and creaking cart (stridens, 
Virg. Georg. iii. 536. Ov. Trist. iii. 
10. 59. ). The load itself was merely 
fastened upon this platform, when of 
a nature to be so disposed ; or was 
included in a large basket {scirpea in 
plaustro. Ov. Fast. vi. 680.), as in 
the present example from a Roman 
bas-relief, when composed of many 
small articles which could not other- 
wise be held together ; or, in other 
cases, a moveable rail was affixed to 
the sides, which kept the load toge- 



PLECTRUM. 



PL OS TEL L UM. 5 [ I 



ther, without concealing it ; or, as 
Varro expresses it, left it open on all 




sides {ex omni parte palam, Varro, 
L. L. v. 140. ), as in the annexed speci- 
men, also from a bas-relief. 

2. Plaustrnm majus. (Cato, R. R. 
x. 2. Varro, R. R. i. 22. 3.) A 
wagon of the same description, and 
employed for similar purposes as the 




last named, but of larger dimensions, 
and placed upon four wheels instead 
of two, as exhibited by the annexed 
example, from a sepulchral bas-relief 
discovered at Langres in France. 

PLECTRUM {TtKriKTpov). Properly 
a Greek word, which, in its primitive 
sense, means a thing that is used to 
strike with (from TrX^aau, to strike) ; 
whence in both 
languages it is 
specially used 
to designate 
a short stick 
or quill with 
which the chords of 
a stringed instru- 
ment were struck, 
by inserting the end 
between the strings, 
or running it over 
them,whenrequired. 
(Cic, A: D. ii. 59.) 
The instrument itself is shown on 
the left side of the illustration, from 
a Fompeian painting ; and the man- 




ner of using it, by the female figure, 
from an ancient Roman fresco pre- 
served in the Vatican, who twangs 
the strings of a lyre with the fingers 
of her left hand, and strikes them 
with a plectrum held in her right. 

2. Poetically applied to the handle 
{ansa), or to the tiller {clavus) of a 
rudder. Sil. Ital. xiv. 402. //;. 548. 
See Gubernaculum. 

PLIN'THIS {-KKtvQ'is). Diminu- 
tive of Plinthus. Vitruv. hi. 3. 2. 

PLIN'THIUM {-Khiveiov). A 
sun-dial described upon a flat slab, 
laid horizontally, like a plinth. Vi- 
truv. ix. 8. 

PLIN'THUS (ttX^Oos). The or- 
dinary Greek name for a brick or a 
tile ; whence 
the word was 
adopted by 
the Roman 

architects to r- — ^ 

designate the ' ' 

lowest member in the base of a 
column, our plinth, which is a square 
slab, like a thick tile, placed under 
the lowest torus, and supposed to 
have originated from the necessity of 
placing a large flat surface under the 
column to prevent it from rotting, 
when formed of wood, or from pene- 
trating too far into the ground, if of 
stone. Vitruv. iv. 7. 3. 

PLOSTEL'LUM (a/*a£fe). Dimi- 
nutive of Plaustrum ; consequently 





applicable to any cart of the con- 
struction explained under that word, 
but of less than the usual size, like 
the annexed example, from an en- 
graved gem, which is fitted for the 
draught of goats instead of oxen 
Agostin. CD. vii. 21. Hor. Sat. 



PLOXEMUM. 



PLUMARIUS. 



ii. 3. 247., in which passage the 
diminutive is applied to a toy with 
mice harnessed to it. 

2. Plostelhim punicum. A threshing 
machine, or sort of sledge cart in- 
vented by the Carthaginians, and from 
them adopted into Italy and other 
countries. It consisted of a wooden 
frame, like a sledge, into which a 
certain number of rollers, set round 
with projecting teeth, were fitted ; 
these threshed out the corn as they 
turned round when drawn over the 
floor by the cattle attached to the 



a provincial one, which Catullus 
I learnt amongst the districts bordering 
on the river Po ; an opinion in some 
measure corroborated by the annexed 
I engraving, from an ancient sepulchral 
marble now preserved in the Museum 
at Verona, which closely resembles a 
very peculiar description of one-horse 
j carriage, still commonly used in the 
! same parts of Italy, where it goes by 
the name of a " Padovauino.'" 

PLUM^E. The scales in a cors- 
let or cuirass, when formed in imi- 




machine, which was further weighted 
by the driver, who sat in a sort of 
frame or chair placed on it. (Varro, 
P. P. i. 51. 2. ) The preceding ac- 
count from Varro describes so ex- 
actly a contrivance still used in 
Egypt for the same purpose, called 
the ' ' Noreg, " and represented in 
the annexed illustration, as to leave 
no doubt respecting the identity of 
the original one. 

PLOX'EMUM, PLOX'EMUS, 
PLOX'IMUS, or PLOX'ENUS. 
The body part of a two-wheeled 
carriage or gig (cisium), which was j 
made or covered with leather. (Ca- 





tull. 97. 6. Festus s. v.). According 
to Quintilian (i. 5. 8.), the term was 



tation of a bird's feathers, as in the 
annexed illustration, from a bas-relief 
which originally decorated the arch 
of Trajan, from whence it was re- 
moved by Constantine to the one 
which bears his name. Virg. s£?i. 
xi. 771. Sallust. Fragtn. op. Serv. 
ad I. 

2. Ornaments, either embroidered, 
or sewed on, or woven into the fabric 
of a piece of cloth, serving as a 
coverlet to a pillow, cushion, or other 
object, in order to produce a rich and 
fanciful pattern (Mart. xiv. 146. 
Prop. iii. 7. 50.) It has not been 
satisfactorily ascertained what these 
plumce were, whether ornaments of 
gold, or tapestry patterns, or real 
feathers of different colours sewed on 
the fabric in the same manner as now 
practised in India and China. Pro- 
fessor Becker inclines to the latter 
interpretation, Gallus. p. 9. n. 15. 
Lond. 1844. 

PLUMA'RIUS. One who fol- 
lowed the art of making plumcc, as 



PL UMA TUS. 



PLUTEUS. 



513 



explained in the preceding paragraph 
(Vitruv. vi. 4. Varro. ap. Non. s. v. 
p. 162. ); but as the real nature of those 
ornaments is yet undecided, it is im- 
possible to declare in what precisely 
his art consisted. 

PLUMA'TUS. 1. Covered with 
scales in the form of birds' feathers 
(Justin, xli. 2. }, as shown by the pre- 
ceding illustration. 

2. Decorated with the ornaments 
termed plumes. Lucan. x. 125. Pet. 
Sat. 55. 5. See Plum^:, 2. 

PLUMBUM {n6\vl35o S ). Lead; 
whence used as a special name for 
various articles made of that metal : — ■ 
as 

1 . A leaden water-pipe. Hor. Ep. 
i. 10. 20. Stat. Suv. i. 3. 67, See 
Fistula, i. 

2. A leaden plummet, employed as - 
a bullet to be cast from a sling. Ov. 
Met. ii. 727. See Glans. 

3. A whip with lumps of metal 
knotted into the thongs, employed for 
punishing slaves. Prudent. 7rep2 arecp. 
x. 116. Compare Cod. Theodos. 9. 
35. 2; and see the illustration s. Fla- 

GRUM, I. 

4. A leaden plummet for drawing 
lines (Catull. 22. 8.); corresponding 
in use with our own, but differing in 
form and character : for amongst the 
ancients these articles were made out 
of a small round plate, instead of a 
long pipe ; a much more convenient 
form, requiring no cutting, less apt to 
get bent, or to scratch the parchment. 
Salmas. ad Solin. p. 644. Beckman. 
History of Inventions, vol. ii. p. 389. 
Lond. 1846. 

PLUTEUS and PLUT'EUM. 
In a general sense anything made of 
boards, hurdles, &c, joined together 
in order to form a cover or give sup- 
port ; whence the following specific 
meanings are deduced : — 

I. [QwpaKiov). A breastwork of 
boarding which served to screen the 
assailants of fortified places from the 
missiles and attacks of the enemy, 
whilst making their approaches, pre- 
paratory to an assault. For this | 



purpose they were advanced in front 
of the storming parties, placed upon 
the military engines and moveable 
towers, or planted round the spot 
where earthworks were being thrown 
up. Caes. B. G. vii. 41. Id. B. C. 
i. 25. ii. 15. Liv. x. 38. Ammian. 
xxi. 12. 

2. A moveable tower with a roof 
overhead, made of boards or hurdles 
covered with raw hides, or hair cloth, 
and fixed upon wheels, under the 
shelter of which a besieging party 

I could advance close up to the walls 
of a beleaguered fortress, and clear it 
of its defenders before commencing 
the escalade. Veget. Mil. iv. 15. Vi" 
truv. x. 15. 

3. The back board of a bed, oppo- 
site to the sponda, or side at which 




the parties got in, which is plainly 
exhibited in the annexed example 
from a Roman bas-relief. Mart. iii. 
91. 10. 

4. The raised end of a tricliniary 
couch, in the form of a French sofa, 
which was placed towards the table, 
for the upper part of the occupant to 




rest against, whilst his legs and feet 
were stretched out to its opposite ex- 
tremity, as plainly shown by the 
annexed illustration, from a Roman 
bas-relief. Suet. Cat. 26. 

5. A dwarf wall closing up the 
lower portions of an intercolumniation 
(Vitruv. iv. 4. I.), or placed as a 
parapet upon the upper stories of an 
edifice (Vitruv. v. I. 5.), to preclude 
2 K 



PNIGEUS. 



PODIUM. 



the danger of falling over, as seen 
in the annexed engraving from the 



an m 

SB 




Vatican Virgil, representing Dido 
watching the departure of ^neas 
from the upper story of her palace. 

6. A shelf, affixed to the walls of a 
room, upon which articles of common 
use were deposited for convenience, 
or objects of ^- H-H D 
luxury display- ^SpZI^^ 
ed for orna- » » 
merit (Juv. ii. 7. Pers. i. 106. Ulp. 
Dig. 29. i. 17.). The example, from 
a painting of Herculaneum, represents 
a shelf fastened to the wall in a shoe- 
maker's shop, upon which a number 
of lasts are deposited. 

7. A board upon which a corpse is 
laid out. Mart. viii. 44. 13. 

PNI'GEUS {wuiyevs). A damper 
made in the shape of an inverted 
funnel, and intended to stop or sup- 
press the rising air in a water organ. 
Vitruv. x. 8. 2. 

POCILLA'TOR (oluo X 6os). A 
young slave who filled the wine cups 
{pocilla), and handed them to the 
guests. Apul. Met. x. p. 223. Same 
as Pincerna ; which see. 

POCPLLUM. Diminutive of Po- 
culum. Liv. x. 42. Suet. Vesp. 2. 

PO'CULUM {iTOT-fip, TTOT-hpiOv). A 

general term for any description of 
vessel employed as a drinking-cup, 
and thus including all the special 
ones which are enumerated in the list 
of the Classed Index. Virg. Ov. Ti- 
bull. Hor. &c. 

PODE'RES or PODE'RIS 
(TToSr]pT]s). Literally reaching down to 



the feet ; a Greek word, applied ad- 
jectively in that language to any gar- 
ment of the dimensions stated, for 
which the genuine Latin expression 
is Talaris ; but the writers of the 
Christian period made use of the 
term in a substantive sense to desig- 
nate a long linen robe, fitting close to 
the body and reaching to the feet, 
which was worn by the Jewish 
priests. Isidor. Orig. xix. 21. 2. Ter- 
tull. adv. Jud. 11. 

POD'IUM. A low basement, pro- 
jecting like a step from the wall of a 
room or building, and intended to 
form a raised platform for the con- 
venience of depositing other articles 
upon ; as, for instance, a row of bee- 
hives (Pallad. i. 38. 2. ) ; a number of 
wine casks in a cellar (Id. i. 18. 2.) ; 




or any object whether of ornament or 
use, such as shown by the annexed 
illustration, representing the interior 
of a tomb at Pompeii, on which three 
cinerary urns are situated. 

2. In an amphitheatre or a circus, 
a basement raised about eighteen feet 
above the level of the arena, which it 
circumscribed, intended for the occu- 
pation of the emperor, the curule 
magistrates, and the Vestal virgins, 
who sat there upon their ivory stools 
{sellce cundes). Suet. Nero, 12. Juv. 
ii. 147. See the section of the amphi- 
theatre at Pola, p. 29. , on which the 
podium is marked A. 

3. A socle or zocle in architecture ; 
i. e. a projecting basement on the 
outside of a building, serving to raise 
pedestals, or to support vases or other 



POLLINCTOR. 



PONS. 



ornaments, being itself plain, with- 
out either cornice or base. Vitruv. 
hi. 4. 5. 

POLLINCTOR. One of the 
undertaker's men, whose business it 
was to wash and annoint a corpse, and 
prepare it for burial, or for the 
funeral pile. He was a slave of the 
Libitinarius. Varro and Plaut. ap. 
Non. s. v. p. 157. Mart. x. 97. Ulp. 
Dig. 14. 3. 5. 

POLL U'B RUM and POLU'- 
BRUM. An old name for the basin 
employed in ablution of the hands 
and feet before and after meals. It 
was held by a slave in his left hand 
underneath the feet or hands extended 
over it, to catch the water poured 
down upon them from a jug in the 
right. At a subsequent period a 
vessel termed trulleum was invented 
for the same object. Non. s. v. p. 544. 
Liv. Andron. and Fabius Pictor, /. c. 

POLYAN'DRION {-noXv&vSpiov). 
A place in which many people are 
buried together in common, or in a 
heap, as distinguished from any 
separate or private sepulchre. M\. 
V. H. xii. 21. Arnob. 6. p. 194. 
Inscript. ap. Pitisc. s. v. 

POLYMPTUS (ttoAiVutos). Lite- 
rally woven by the assistance of many 
leashes (/niros, licia) ; thence by im- 
plication figured with various pat- 
terns, like our damask, for the 
manufacture of which a great number 
of leashes are requisite, in order that 
the threads of the warp may be 
opened in many different ways; for, 
it is by this means that all varieties 
in the pattern of stuffs are made, j 
Plin. H. N. viii. 74. Mart. xiv. 150. 
.POLYMYX'OS(iroAiWfos). See 

LUCERNA, 3. 

. POLYP'TYCHA {wo\iTrv X a). A 
set of tablets consisting of many 
leaves. Veg. Mil. ii. 19. Cassio- 
dor. Var. Ep. v. 14. See Cera, 2. : 

POLYSPA'STON (TroAiWo-rof), 
A contrivance for raising weights by j 
theassistanceof many pulleys (orbiculi) \ 
set in a case {trochlea) . Vitruv. x. 2. 

PON'DUS (or radios). A weight, , 




for weighing objects in a pair Of scales 
(Liv. v. 48. Ulp. Dig. 19. 1. 32). 
The illustration re- 
presents an original 
found at Hercula- 
neum, similar to the 
larger weights in use 
amongst ourselves ; 
but sets of smaller ^H=^=s=^ 
ones, made to stand upon a counter, 
and divided into fractional parts 
which fit into one another, like those 
commonly employed in our retail 
shops, have also been found in the 
same city. 

2. A weight fastened to the ex- 
tremities of the warp threads {sta- 
mina) in an upright loom (Senec. Ep. 
90.), for the purpose of keeping them 
steady, and imparting a sufficient de- 




gree of tension to the warp, while the 
woof (subtemen) was driven home and 
compressed by the comb {pec ten) or 
batten {spatha). ' The ancient method 
of fixing these weights is shown by 
the illustration representing a loom of 
very primitive construction, still em- 
ployed in Iceland (Schneider, Index 
R. R. Script, s. Tela), in which they 
are composed of large stones tied by 
a number of threads collected into 
separate parcels. In modern wea- 
ving, weights are placed upon the 
yarn beam for a similar purpose. 

PONS {yetyvpa). A bridge: Vi- 
truvius has not left any account re- 
specting the construction of bridges ; 
but the numerous examples still re- 
maining testify the great skill of the 



PONS. 



Roman engineers and builders in 
this branch of art. The following 
account is consequently derived from 
observation of existing examples, and 
not from written authorities. The 
causeway {via, agger) is uniformly 
laid down, like the roads, with large 
masses of polygonal stones, flanked 
on each side with a raised trottoir 
(crepido) or pavement for foot-pas- 
sengers, and enclosed on each side by 
a low parapet wall {pluteus), but not 
formed of open balustrades, as is 
the more common practice at the pre- 
sent day. A gateway {porta), which 
might be closed by a bar or port- 
cullis {cataracta), is frequently erected 
at one end of the bridge (see the 
woodcut s. Cataracta, 2.), or an 
ornamental archway {fornix), which 
might also be converted to the same 
use, is sometimes situated in the 




centre, or at each end, as in the an- 
nexed example, representing the 
bridge at St. Chamas in its present 
state. The line of some bridges is 
nearly horizontal, of others which 
span a torrent stream, very much 
hog-backed, with an extremely sharp 
ascent and declivity. The arches are 
in all cases nearly semicircular, and 
sometimes of great span. A single 
remaining one at Narni is 150 feet 
wide, springing from a pier at the 
height of 100 feet from the river be- 
low. The bridge built by Augustus 
at Rimini, which Palladio regarded 
as the finest model he had seen, con- 
tains seven arches, and is horizontal 
in the centre, but has a slight diver- 
gence on each of its ends. 



2. {yecpvpa). The original Greek 
bridge, as the name imports, was 
nothing more than a dam or mound 
of earth, forming a raised causeway, 
such as we use in localities subject to 
inundations ; the smallness of the 

j rivers or streams in that country 
rendering them for the most part 
fordable, or easily crossed by a few- 
planks. Hence the art of bridge- 
building, like that of road-making 
and drainage, owes its perfection to 
the Romans, who were the first people 
to make an extensive use of the arch, 
j and consequently those which are 
! enumerated as regular bridges of 
any length in Greece (Plin. H. X. 
j iv. 1. Ib. 21.) may be fairly believed 
j to have been executed after the Ro- 
man conquest. 

3. Pons sublicius. A timber bridge, 




upon piles of wood ; frequently con- 
structed for a temporary purpose, 
j such as the passage of an army across 
j a stream. Numerous specimens are 
l in consequence exhibited on the 
1 columns of Trajan and Antoninus, 
from which latter the annexed illus- 
tration is taken. The famous sub- 
lician bridge at Rome, when rebuilt 
after its destruction in the war with 
Porsena, was constructed without 
nails, in order that the timbers might 
be taken to pieces, and replaced again 
whenever occasion required that the 
i communication should be interrupted 
; or re-opened. Liv. i. 33. Plin. H. N. 
i xxxvi. 23. 

1 4. Pons suffragiorum. A tempo- 
j rary bridge of planks erected during 
the Roman comitia, over which the 
voters passed one by one as they 
came out from the septum, to cast 
their votes {tabellce) into the box 
{cista) (Cic. Att. i. 14. Ov. Fast. v. 
634.). The object was to prevent 
fraud, tumult, and intimidation, and 



POXS. 



POXTO. 




to secure, as far as possible, freedom 
of action to 
the voter, who 
received his 
ball from an 
officei" station- 
ed at one end 
of the bridge, 
over which he 
then crossed to the opposite extre- 
mity, where the balloting box was 
placed, and having deposited his vote, 
passed out. These particulars are all 
expressed in the illustration, from a 
consular coin, which shows part of the 
railing enclosing the septum, one voter 
receiving a ballot, and another in 
the act of depositing one in the box. 

5. (iiri^ddpa, awo^dOpa). A bridge 
formed, by a broad plank laid from 
the shore to a vessel, over which the 
crew and passengers embarked or 
disembarked (Virg. JE>i. x. 288.). 
The illustration represents a bridge 




of this description, from a painting in 
the Xasonian sepulchre near Rome, 
by means of which a horseman is es- 
caping from the pursuit of a tiger, 
which other persons in the original 
composition are hunting. 

6. The deck of a vessel upon 




ample from a marble bas-relief. Tac. 
Ann. ii. 6. 

7. A drawbridge, let down from 
the upper story of a moveable tower, 

I or any other elevated object, during 
: sieges, over which the attacking party 
! could pass on to the ramparts without 

the aid of scaling ladders. Tac. Ann. 

iv. 51. Suet Aug. 20. Veg. Mil. 

iv. 21. 

8. A viaduct over a ravine, or be- 
tween any two points of eminence, 
such as that which Caligula built to 
make a direct communication between 
the Palatine and Capitoline hills. 
Suet. Cal. 22. Xen. Anab. vi. 5. 22. 

POXTIC'ULUS. Diminutive of 
Pons. Cic. Tusc. v. 10. 

POXT'IFEX (yt<pvpoiroi6s). A 
pontiff; that is, a member of the 
principal order of Roman priests, to 
whom the superintendence of the 
state religion and its ceremonies was 
entrusted. The head of the order 
j was styled "chief pontiff" {Pontifex 
I Maxima s, Upo<pdi>T7}s). On coins and 
! marbles the pontiffs are distinguished 
by the following implements of wor- 
: ship, placed as symbols by their 
1 sides : — the simpulum, securis, apex, 
and an aspersoir, or whisk for 
sprinkling the lustral water, desig- 
i nated aspergillum by modern writers ; 
but the real Latin name of which has 
not come down to us. The chief 
pontiff is in most instances accom- 
I panied with the adjunct of a simpidum 
only ; though sometimes a securis or 
a secespita is added. 

POXTO. A large fiat-bottomed 
i craft, more especially employed by 
I the Gauls (Caes. B. C. iii. 29.), and 
intended for the transport of passen- 




which towers and military engines 
were erected, as in the annexed ex- 



gers, soldiers, or cattle, across rivers 
(Paul. Dig. 8. 3. 38. Isidor. Orig. 
xix. 1. 24.). The example is from 
a painting in the Xasonian sepulchre ; 
and the illustration on the opposite 



POP A. 



PORTA. 



column exhibits a man on horseback 
entering a vessel of the nature de- 
scribed. 

2. A pontoon, fonned by a flooring 
of planks laid between two boats with 
sharp heads (lintres), so as to form 
a floating bridge for transport across 
a river. It was attached by a running 
rope, sliding on a transverse one, 
stretched over-head athwart the 
stream, and thus driven over . by the 
simple action of the current, as still 
seen on the Po, Tiber, and other 
large rivers. Auson. Idyll, xii. 20. 

POPA (dvTrjs). The minister who 
conducted a victim to the altar, and 
knocked it down with 
a mallet, or with the ^ 




bluff side of an axe, 



from tfoecultrarius, who 
despatched it with the 
sacrificial knife. He 
wore a short apron or 
kilt from the waist to 
the knees (whence 
styled succinctus. Suet. 
Cal. 32. Prop. iv. 3. 
62. ) ; the upper part 
of his person being 
naked, as in the annexed example 
from a Roman bas-relief. The man- 
ner of giving the blow is shown by 
the illustration s. VlCTlMARH. 

POP'ANUM (wWo>). A flat 
round cake used at sacrifices. Juv. 
vi. 541. Aristoph. Thesm. 285. Suidas. 

POPI'NA {dtyoirwKeiop). An eat- 
ing-house, cook's-shop, or tavern, in 
which ready-dressed victuals were 
sold, as contradistinguished from cau- 
pona, which was more particularly j 
established for the sale of liquors, 
though the master of a popina also 
drew wine for his customers. (Plaut. 
Pcen. iv. 2. T3. Cic. Phil. ii. 28. Mart, 
i. 42.) It was customary to display 
some dainties and choice viands in the 
windows of these eating-houses, de- 
posited in glass bottles filled with water, 
in order to magnify their size and en- 
tice customers. Macrob. Sat. vii. 14. 

POPINA'RIUS. The owner or 



keeper of an eating-house {popina). 
Lamprid. Alex. Sev. 49. 

POPINA'TOR. Same as pre- 
ceding. Macrob. Sat. vii. 14. 

POPFNO. Literally, one who 
frequents taverns and eating-houses 
( popina:) ; thence, by implication, a 
glutton, debauchee, or person of dis- 
orderly habits, because such places 
were chiefly resorted to by people of 
low rank, or of idle and dissolute 
character. Hor. Sat. ii. 7. 39. Suet. 
Gramm. 15. 

PORCA. The ridge between two 
furrows in ploughed land. Varro. 
L. L. v. 39. Id. R. R. i. 29. 2. 

PORCA'RIUS (<™j8c£tt7s). A 
swineherd. Firm. Matth. iii. 6. 6. 

PORCINA'RIUS. A porkbutcher. 
Plaut. Capt. iv. 3. 5. 

PORCU LA'TOR One who 
breeds and fattens pigs. Varro, R. R. 
ii. 4. I. Columell. vii. 9. 12. 

PORCULETUM. A piece of 
land divided into ridges and furrows 
by the plough. Plin. H. N. xvii. 
35- § 9- 

POR'CULUS. (Cato, R. R. xix. 
2. ) A particular part or member 
belonging to a wine and oil press 
(toratlar), the exact nature of which 
cannot be ascertained from the single 
passage of Varro in which it is men- 
tioned. 

PORTA (ttuAt?). The gate of any 
large enclosure or set of buildings, as 
opposed to janua and ostium, the door 
of a house ; and especially the gate of 
a fortified place, of a citadel, or of a 
city. The annexed engraving, re- 
presenting the ground-plan of the 
principal entrance to Pompeii from 
Herculaneum, will explain the usual 
system adopted by the ancients for 
structures of this nature. It consists 
of a central archway over the main 
road (a) for carriages, and two lateral 
ones (bb) for foot passengers, each of 
which was closed by a smaller gate. 
Under the arch which faced the open 
country (at the bottom of our en- 
graving), there was no gate, but in- 
stead of it a portcullis [cataracto). 



PORTA. 



PORTJCUS. 



5*9 



the grooves for which are visible in 
the walls at the points marked cc on 




the plan. The gates were situated at 
the opposite extremity of the pile, 
nearest the town, as testified by the 
sockets in the pavement (dd), in 
which the pivots {cardines) of each 
valve turned. Both the lateral en- 
trances were vaulted over head, 
throughout their whole length ; but 
the central roadway was only covered 
at its two extremities, thus leaving an 
open space or barbican (a) between 
the portcullis and gate open to the 
sky, through which the defenders of 
the position could pour their missiles 
from the upper stories of the interior 
upon their assailants, if they should 
succeed in forcing an entrance beyond 
the portcullis and into the barbican. 
The entire front was further covered 
with an attic, adapted for purposes of 
defence, or containing chambers for 
the administration of justice and the 
business of civil government, as in 
the magnificent entrance gate to the 
city of Verona, represented by the fol- 
lowing woodcut, which is constructed 
with two carriage-ways, one for en- 
tering the city, the other for going 
out, but is not provided with separate 
gangways for foot-passengers. Other 
examples, still in existence, have only 
a single thoroughfare serving both 
for horses, carriages, and pedestrians, 
flanked with lateral towers (Caes. 
B. C. viii. 9. Virg. sEn. vi. 552 — 



554), as is the case with alb the old 
gateways now remaining in the walls 




of Rome, of which an example is 
given in the illustrations. Fenestra, 
3., though the entrance itself is now 
blocked up by a modern lean-to. 

2. Porta po?npce. The gate through 
which the Circensian procession en- 
tered the Circus. (Auson. Ep. xviii. 
12.) It was situated in the centre of 
the straight end of the building, with 
the stalls for the horses arranged on 
each side of it. See the ground-plan 
at p. 165., on which it is marked H, 
and the illustration s. Oppidum. 
where it is shown in elevation. 

POR'TICUS (<rrod). A portico or 
colonnade, comprising a long narrow 
walk covered by a roof supported 
upon columns, which thus afforded 
the advantage of a free circulation of 
air, and, at the same time, protection 
against the heat of the sun and 
humidity of the atmosphere. Struc- 
tures of this kind originated with the 
Greeks, but were extensively adopted 
by the Romans, being constructed 
with great magnificence by the natives 
of both those countries, and employed 
either as adjuncts to their villas and 
palatial residences, or as public build- 
ings for the convenience and resort 
of the population, in which case they 
became places of general rendezvous, 
furnished with seats and decorated with 
objects of art to increase their splendour 
and attractions. (Cic. Att. iv. 16. Id. 



520 PORTICUS, 



FOR TULA. 



Dom. 44. Suet. Aug. 29. Id. Cal. 
37. ). The illustration, from the 




marble map of Rome, represents the 
ground-plan of a portion of the mag- 
nificent portico of Octavia, built by 
Augustus, with the temples of Jupiter 
and Juno within its precincts. The 
principal entrance, marked by the 
double row of six columns (on the 
right hand of the engraving), which 
support a pediment of marble like the 
pronaos of a temple, is still in exist- 
ence, but much embarrassed by sub- 
sequent repairs and modern buildings. 
Colonnades of the same character 
were also frequently annexed to the 
side of a cloister {crypto) ; so that the 
concourse frequenting them could re- 
tire to a more sheltered spot, when- 
ever the excess of heat or cold induced 
them ; of this, an example is ex- 
hibited under the word Crypta. 

2. A covered gallery in an amphi- 
theatre (Calpurn. Eel. vii. 47.) for 
the occupation of the poorest classes ; 
situated at the very top of the edifice, 
and furnished with a row of columns 
in front to support its roof, as shown 
by the woodcut at p. 29., which ex- 
hibits a restoration of the upper gal- 
lery to the amphitheatre at Pola, 
from the traces it has left, and those 
of the Coliseum at Rome. 

3. A long wooden shed or gallery 
covered by a roof, but entirely or 
partially open at the sides, constructed 
over an agger (Cass. B. C. ii. 2. ), as 
in the annexed example from the 



column of Trajan, to protect the men 
employed upon it ; or in general to 




shelter anything placed under it, such 
as a row of bee-hives, &c, from the 
cold and rain. Columell. ix. 7. 4. 

PORTI'SCULUS. A truncheon 
or hammer, with which the officer 
{pausarius) who gave out the chaunt 
[celeusma) to the rowers on board 




ship, beat the time to keep them in 
stroke (Ennius and Laber. ap. Non. 
s. v. p. 151. Cato ap. Fest. s. v. 
Plaut. As. iii. I. 14.). In the illus- 
tration, from the Vatican Virgil, it is 
seen in the right hand of the figure 
sitting in the stem of the vessel. 

POR'TITOR {iWifitvirrrts). A 
custom-house officer ; employed by the 
publicani, who leased the portorium, 
or duties levied upon exports, im- 
ports, and transit dues, to examine 
the goods of merchants and travellers. 
As the duty was an annoying one, 
and often exercised with harshness 
and incivility, these officers were ex- 
tremely unpopular. Cic. Off. I. 42. 
Non. s. v. p. 24. 

POR'TULA (iruAis, pivoirvX-n). Di- 
1 minutive of Porta ; and especially a 
wicket gate opening in a valve of the 
larger one, in order to admit passengers 
after the gates had been shut at night. 
Liv. xxv. 9. Compare Polyb. viii. 2. 



P0R1 

PORTUS. A prt or harbour for j 
the shelter and reception of shipping ; 
as a place of refuge against stress of 
weather or an enemy's fleet, as well 
as a dock for the lading and unlading 
of merchandize. The term likewise 
includes a natural haven, as well as j 
an artificial basin, formed and forti- 
fied by human ingenuity and labour. 
The first of these needs no explana- 
tion ; but the latter is, of sufficient 
importance to demand some account 
of its general plan and manner of 
construction, as works of this kind 
occupy a prominent place amongst J 
those labours of the ancients which I 
were dedicated to public utility. 

Both the Greeks and Romans ap- I 
pear to have laid out their ports upon j 
the same general plan, with scarcely ! 
any difference in the details, as testi- 
fied by numerous remains still to be ■ 
seen in both countries. They con- j 
sist of an outer basin (Xi^v of the i 
Greeks) with one or more inner ones ! 
(Greek opfxos), connected by a water- i 
way ; and are mostly situated near 
the mouth of a river, or in a creek of 
the sea. " The entrance to the har- 
bour is protected by a breakwater in 
advance of the mole, upon which 
stood a light -house and towers of for- 
tification, and chains or booms were 
upon emergency drawn across this 
entrance to prevent the ingress of a 
hostile fleet. The mole was con- 
structed upon arches in order to 
counteract the natural tendency of 
artificial ports to fill themselves up 
by a deposit of sand or shingle, a suf- 
ficient calm being procured inside by 
means of flood-gates hanging from 
the piers. Moles so formed may be 
seen at Eleusis ; are represented on 
Roman medals, in Pompeian paintings, 
and the Vatican Virgil Within the 
harbour was a broad way or quay 
supported by a wall of masonry, and 
backed by magazines for warehousing 
goods, a market place, the harbour- 
master's residence, and a temple, 
mostly dedicated to Venus, in allusion 
to the element from which that god- 



n us. . 521 

dess. is fabled to have sprung. Flights 
of stairs conducted from the quay to 
the water's edge ; and columns were 
placed as mooring posts at regular 
intervals all round the port ; or, in- 
stead of them, large rings (ansae) 
were affixed to the wall of the quay, 
each of which was regularly number- 
ed, so that every vessel, as it entered, 
was compelled to take up its proper 
station. The whole of the buildings 
were furthermore enclosed by an 
outer wall and fortifications, admitting 
ingress from the land side through a 
gate strongly defended, like the en- 
trance to a fortress. This description 
will be readily understood by an in- 
spection of the following illustration, 
which exhibits a ground plan of the 
port of Ostia, at the mouth of the 
Tiber, from a minute survey taken 
by the Venetian architect Labacco in 
the 1 6th century, when the remains 
were not so much dilapidated as they 
now are, nor the site itself so com- 
pletely filled up with mud and de- 
posits, which now conceal such 
vestiges as were then apparent. The 
outer and larger harbour was con- 
structed by the Emperor Claudius ; 
the inner and smaller basin by 
Trajan. A. The entrance gate from 
the land side, flanked by fortified 
towers. B. A temple. C. An aque- 
duct which supplied the port with 
fresh water. D. The residence of 
the harbour-master, in a situation 
which commands a A'iew of both 
ports. E F. Two bridges over a 
canal which communicates both with 
the Tiber and the sea, through the 
branch river on the top of the plan. 
It is likewise believed that the water- 
way under one, or perhaps both, of 
these bridges was closed by a flood- 
gate. G. A large open square sur- 
rounded by magazines, and probably 
serving as a forum or market, and 
place of rendezvous for the mer- 
chants, and captains of vessels, &c. 
H. A small dock, also surrounded by 
storehouses, which from the narrow- 
ness of its entrance, and its position 



522 



POSCA. 



POSTIS. 



upon the canal leading into the j 
branch river, appears to have been [ 
intended for the coasters and smaller 
trading vessels of the country. I. A 
breakwater against the entrance to 
the inner harbour. K. The break- I 
water which protected the mouth of 
the Claudian port. Vestiges of the I 



custom houses and magazines all 
round the quay of the inner port and 
on the side adjacent to the branch 
river are indicated upon the plan. 
Round the port of Claudius only a 
few could be traced, which are 
marked L. ; but they were doubtless 
much more extensive in the original 




The illustration is copied from the 
arch of Septimius Severus. 

POSTIS (napaards, (TrctO/mos). The 
jamb of a door case ; i. e. an upright 
pillar, or a post, one of which is 
placed on each side of a door-way, 
resting upon the sill and supporting 
the lintel overhead, as shown by the 
annexed cut representing a stone door- 
case, now remaining in one of the 



design. The dotted line on the right 
side of the engraving shows the point 
to which the sea extended when the 
survey was taken. 

POSCA (h^vKparov). An ordinary 
drink amongst the lower classes of 
the Roman people, slaves, and soldiers 
on service ; consisting of water and 
sour wine or vinegar, with eggs beat 
up in it. Plant. Mil. iii. 2. 23. Suet. 
Vit. 12. Spart. Hadr. 10. 

POSTILE'NA (bnovpis). A crup- 
per, or breeching for riding and pack 
horses ; made of leather, or of 
wood bent into a semi-circular form 
(Plaut. Cos. i. I. 36.), so as to 
embrace the hind quarters of the 
animal, round which it passed from 
the back 
part of the 
saddle pad, 
which it 
thus pre- 
vented from 
sliding for- 
wards, as 
the antilena 
or breast 

strap did from shifting backwards, streets of Pompeii. Cic. Att. iii. 15. 





POSTOMIS. 



PRMCINCTIO. 



5 2 3 



Ov. Am. ii. I. 27. Val. Max. ix. 12. 
6. Vitruv. iv. 6. 

2. The poets apply the word in a 
more indefinite sense ; sometimes 
using it for the door itself (/oris), or 
one of its valves, or for the style 
(scapzis cardinalis) forming the pivot 
(cardo) on which the leaf revolved. 

POST'OMIS. An instrument 
employed for the same purpose as the 
twitch is by our grooms and farriers, 
to hold a horse by the nose, in order 
to keep him perfectly still and tract- 
able, whilst being handled, or dressed, 
or submitted to any nice operation 
(Non. s. v. p. 22). It was made with 
two branches ending in semicircular 
prongs, like a pair of pincers, the 
ends of which, being inserted in the 
nostrils, were pressed together by a 




cord fastened round the opposite ex- 
tremity of the instrument. A con- 
trivance of the same kind is used at 
the present day in some parts of 
England for leading bulls about, the 
pincers being found to tame their 
courage most completely ; and in 
Tuscany, for draught oxen, in the 
manner exhibited by the annexed 
illustration. The figure on the left 
hand represents an ancient postomis, 
from a bas-relief discovered in the 
south of France, on which two vete- 
rinaries are exhibited in the acts of 
bleeding and clipping horses ; the 
one on the right the modern instru- 
ment now used in Italy; and the 
centre part shows the manner in 
which it is fastened on the beast, one 
of the round ends being fixed in each 
nostril, and the handle turned up 



against the forehead, where it is kept 
in place by means of a rope fastened 
round the horns, and running through 
a ring at the top, which makes the 
pincers nip whenever it is pulled. 
The illustration will also explain an 
allusion of Lucilius (ap. Non. /. c. ), 
who characterizes a tippler by saying 
that the wine cup was always at his 
nose, which he therefore likens to a 
postomis. 

POSTS CE'NIUM. That part of 
a Roman theatre which lies behind 
the scenes {scend), to which the actors 
withdrew from the stage to make any 
change in their costume, or perform 
such actions as required to be con- 
cealed from the spectators. Lucret. 
iv. 1179. See the ground-plan s. 
Theatrum Romanum, on which it 
is marked E E. 

POSTSIGNA'NI. The soldiers 
drawn up in the second and third 
lines of a battle array ; that is, behind 
the front ranks in which the standards 
(signa) were placed. Frontin. Strut. 
ii. 3. 17. Ammian. xxiv. 6. 

POSTULATIC'II. Gladiators 
exhibited over and above the regular 
numbers advertised for the show, in 
order to gratify the demands (postu- 
late:) of the people. Senec. Ep. vii. 

PR^FCEN'TOR. The leader of 
a choral band. Apul. dc Mund, p. 
749- 

PR^E'CI A. A crier who preceded 
the JFlamines on holy days, and or- 
dered the people to cease from work 
whilst a procession passed, lest the 
sacred rites should be profaned by 
the priest setting eyes upon a person 
engaged in manual labour, which was 
regarded in the light of a pollution. 
Festus, s. v. Serv. ad Virg. Georg. \. 
268. 

PR^FXINC'TIO (Bidfofia). A 
wide landing place, or lobby, in the 
intei-ior of a theatre and amphitheatre, 
running all round the circle of the 
cavea at the top of each mtmianum, or 
tier of seats (Vitruv. v. 3. 4. Com- 
pare ii. 8. 11.). The -general design 
of these lobbies will be understood 



524 



PRMCLA VIUM. 



PRAHFECTI. 



by referring to trie plan of the theatre 
at Herculaneum introduced s. Thea- 
trum Romanum, a portion of which 
is shown in elevation by the wood- 




cut annexed, which contains the cor- 
responding parts of three prcecinc- 
tiones. Their use was to enable the 
spectator when he entered the theatre 
to reach his own heat without incom- 
moding those who had arrived before 
him. If, for instance, he entered by 
the furthest of the small doors {vomi- 
toria) in the illustration, whilst the 
number of his seat happened to be in 
the compartment {caved) nearest to 
the reader, he walked round the prce- 
cinctw until he reached the nearer 
flight of stairs {scalce), which he de- 
scended until he came to the row of 
seats {gracilis) where his place was 
numbered, thus having to pass only 
those few persons who might be sitting 
between the staircase and the stall 
belonging to him. 

PR^ECLA'VIUM. That portion 
of a piece of cloth intended to be de- 
corated with the purple stripe {da- 
vits), which was woven before or 
without the stripe (Non. s. v.). It 
was made of white wool, and when 
completed the coloured threads were 
taken up, and woven into the fabric, 
as is clear from a passage of Afranius 
{ap. Non. /. e. ) : — mea nutrix, surge, 
si vis, p7-ofer, purpuram, prceclavium 
textum est. 

PR^'CO. A public crier ; em- 
ployed by the Romans for many pur- 
poses — in a court of justice to 




summon the plaintiff and defendant, 
announce the names of the parties, 
proclaim the sentence, &c. ; at the 
comitia to call up the centuries to 
vote, proclaim the 
i vote of each cen- 
j tury, and the names 
I of the persons elect- 
ed ; at auctions to 
' call the articles put 
up for sale, an- 
nounce the bid- 
dings, &c. ; at the 
public games, where 
they summoned the 
people to attend 
and proclaimed the 
names of the suc- 
cessful competitors ; at the public 
assemblies, where they were em- 
ployed to keep silence and preserve 
order; and at solemn funerals {funera 
indictivd), when they went round the 
city inviting the people to attend, of 
which the annexed figure affords an 
example, from a Roman bas-relief, in 
which he is represented with his long 
trumpet at the head of a funeral pro- 
cession ; and, finally, as a town crier, 
who cried lost property through the 
district. Plaut. Cic. Liv. Hor. &c. 

PREFECT! Twelve officers in 
a Roman corps d^armee appointed by 
the consuls to take the command of 
the contingent of troops furnished by 
the allies, in which they enjoyed the 
same rank and authority as the tri- 
buni in the Roman legions. Cses. 
B. G. iii. 7. Ib. i. 39. Sail. Jug. 50. 

2. When used with reference to 
the armies of foreign nations the 
Latin writers apply the term in a 
sense which we might translate, 
"generals of division," who acted 
under the commander-in-chief. Ne- 
pos, Ale. 5. Id. Ages. 2. 

3. Prczfectus equitum. The general 
who commanded the cavalry of a 
corps d'armee. Hirt. B. G. viii. 12. 

4. Prczfectus legionis. A title 
adopted under the empire, to desig- 
nate, as is supposed, the officer pre- 
viously styled legatus legionis, or 



PRMPECTI. 



PRMFIC/E. 



525 



legionis prcrpositus ; that is, who had 
the chief command over one legion, 
including both the cavalry and in- 
fantry composing it. Tac. Hist. i. 
82. Compare Veg. Mil. 9. 

5. Prefect us casirorum. An officer 
appointed to every Roman legion, 
whose duty it was to select the site 
for a camp, procure the necessary 
materials for forming it, superintend 
the construction of its defences, and 
take charge of the baggage belonging 
to his legion, the sick and wounded, 
the commissariat stores and military 
engines. Veg. Mil. ii. 10. Tac. Ann. 
xiv. 37. Veil. ii. 119. 4. 

6. Prcefectus classis. During the 
republic, an officer who commanded 
a fleet in active service, under the 
auspices of the consuls, by whom he 
was appointed (Liv. xxvi. 48. Flor. 
iii. 7.). But during the empire the 
same title was given to two admirals 
in permanent employ, and appointed 
by the emperor, one of whom com- 
manded the fleet stationed at Ra- 
venna to guard the Adriatic coast ; 
the other at Misenum for the Medi- 
terranean side. Suet. Aug. 49. Tac. 
Hist. iii. 12. Veg. Mil. iv. 32. 

7. Prcefectus navis. The captain 
of a ship of war. Liv. xxxvi. 44. I 
Flor. ii. 5. 

8. Prcefectus fabrum. In the army 
an officer who directed and com- 
manded the armourers, carpenters, 
and engineers who constructed the 
military machines employed in war- 
fare (Nep. Att. 12. Cses. B. C. i. 
24. Veg. Mil. ii. 11.). In civil life, 
the same title was given to the master 
of a company of smiths, carpenters, 
and similar trades {fabri). Inscript. 1 
ap. Orelli. 3428. 

9. Prcefectus prcetorio. The com- 
mander of the Praetorian guards ; an 
officer first appointed by Augustus, 
and only employed in a military 
capacity; but subsequently invested 
both with civil and military authority 
to a very great extent, so that he be- 
came the second person in the realm, 
and possessed powers almost as ex- 



tensive as the Emperor himself. Tac. 
Ann. i. 24. 

10. Pnefecttcs vigilum. The com- 
mander of the watchmen or urban 
guard, whose duty it was to protect 
the citizens from robbery, house- 
breaking, fire, &c. Suet. Aug. 30. 
Paul. Dig. i. 15. 3. 

1 1 . Prcefectus urbis. The prsefect 
or governor of the city ; a magistrate 
originally appointed, when occasion 
required, to take charge of the city 
in the absence of the king or con- 
suls ; but he became a permanent 
officer with a certain jurisdiction 
under the empire. Suet. Aug.. 33. 
37. Tac. Ann. vi. 10. 11. 

12. Prcefectus cerarii. An officer 
first created under the empire as the 
guardian of the public treasury, who 
performed the duties previously en- 
trusted to the quaestors, or to the 
tribuni cerarii. Tac. Ann. xiii. 28. 
and 29. Pirn. Pp. v. 15. 5. 

13. Prcefectus annoiue. An officer 
appointed, during the republican 
period only upon extraordinary emer- 
gencies of scarcity, to regulate the 
corn market, procure supplies, and 
fix the price at which it should be 
sold ; but under the emperors he 
became a permanent officer, elected 
for similar purposes, and ranked as 
one of the ordinary magistrates. Liv. 
iv. 12. Tac. Ann. i. 7. Ib. xi. 31. 

PR^FERIC'ULUM. A metal 
vase, without any handle, and widely 
open above, like the. pelvis, employed 
for holding the sacred utensils which 
were carried in procession at certain 
religious solemnities. Festus, s. v. 

PRyL'FIC-F. Women hired to 
act as mourners in the funeral pro- 
cessions of wealthy individuals. (Lu- 
cil. and Varro ap. Non. s. v. p. 67. 
Plant. True. ii. 6. 14. ) They pre- 
ceded the corpse, making every ex- 
ternal demonstration of poignant 
grief, with bare heads and dishevelled 
hair, weeping aloud, and chanting a 
funeral dirge, or singing the praises 
of the deceased ; as exhibited by the 
annexed figures from a marble sarco- 



526 PRMFURNIUM. 



PRMSUL. 



phagus, on which the funeral of 
Meleager is represented, This singu- 




lar custom is still observed in two 
districts of Italy, at Canalo and at 
Agnara, both in the diocese of I 
Gerace, where women, termed ripe- \ 
titrici, that is, rehearsers, perform j 
similar offices for the dead. Ficoroni, j 
Vestig. Rom. part ii. p. 77. 

PRiEFUR'NIUM. The mouth 
of a furnace in a kiln (fomax), or to j 
the heating chamber [kypocausis) of 
a set of baths ; that is, the narrow ! 
passage or gully opening into, the 
furnace through which the fuel was 
introduced. (Cato, R. R. 38. 1. Vi- 
truv. v. 10. 2. Id. vii. 10.) It is 
shown in the annexed wood- cut, re- 
presenting the remains of a Roman 
pottery -kiln, discovered near Castor 




in Northamptonshire, by the dark 
archway at the bottom of the en- 
graving, behind which the circular 
furnace is placed. 



PR/EGUSTA'TOR (7^076^ s). 
A slave commissioned to taste the 
dishes at table before they were pre- 
sented to his master ; to discover if 
they were pi"operly seasoned, and, 
more especially, as a safeguard 
against secret poison. The office 
was of Oriental origin, but adopted 
by the Greeks and Romans as luxury 
in-creased and morals declined. Suet. 
Claud. 44. Tac. Ann. xii. 66. Plin. 
H. N. xxi. 9. Xen. Cyr. i. 3. 

PR/ELUM, See Prelum. 

PR^EPILA'TUS (with the ante- 
penult short), (acpaipwTos, iacpaipoo- 
(xivos) designates a weapon for thrust- 
ing, which has its point muffled with 
a button or ball {pi/a), like our foils, 
to prevent it from inflicting wounds, 
whilst the soldiers were learning their 
exercises, or exhibiting in sham- fights 
and reviews. Liv. xxvi. 5 1. Hirt. 
B. Afr. 72. Quint, v. 12. 17, Xen. 
Eq. viii. 10. Polyb. x. 20. 

2. Prcepilatus (with the antepenult 
long), which is derived from pihim, 
means simply discharged. Ammian. 
xxiv. 6. 10. Compare xvi. 12. 36. 

PR^ESE'PES, -E'PIS, -E'PIA, 
-E'PE, and -E'PIUM. Literally, any 
place which is protected in front by a 
hedge or a fence ; whence referred 
to a pen for sheep (Varro, R. R. ii. 
2. 1 90'; a stall for cattle (Cato, R. R. 
14. I.); a stable for horses (Virg. 
JEn. vii. 275.) ; and the manger in a 
stall or stable (Suet. Cal. 55. Colu- 
mell. i. 6. 6. ), -for which the technical 
name is Patena, under which an 
illustration is given. 

PR^ESTIGIA'TOR {Qav^aro. 
trows). One who practises sleights of 
hand; ^.conjurer ox juggler . Senec. Ep. 
45 Front, de Or. Ep. I. ed. A. Maio. 

PR^ESTIGIA'TRIX. A female 
juggler. Plaut. Amph. ii. 2. 159. 

PRyESUL. Literally, one who 
jumps or dances before others (Cic. 
Div. i. 26.), whence used as a title for 
the chief of the Salii, who danced 
annually through the city, exhibiting 
the sacred shields {ancilid) to the 
multitude. Capitol. Marc. Antonin. 4. 



PRMTEXTA. 



PR.-ETORIUM. 



PR^ETEX'TA. See Toga. 

PRETEXT A'TUS. Wearing 
the Toga Pr^texta, as explained 
under that word. 

PR/£TOR(<rTpaT?}7<$s,e£a7reAeKeus. 
Polyb. iii. 106. ). A praetor ; the 
title of one of the civil magistrates 
of Rome, who ranked next to the 
consuls; first created A.U.C. 388. 
to administer justice in the city, 
under the pretence that the constant 
wars obliged both the consuls to 
absent themselves at the head of an 
army, but, in reality, to recompense 
the patrician families, to which the 
praetorship was at first confined, for 
the concession which had been ex- 
torted from them, of sharing the con- 
sulate with men of plebeian extrac- 
tion. He wore the toga p'cetexla, 
had the privilege of a sella curidis, 
and was attended by six lictors. At 
first only one praetor was appointed, 
but the number was subsequently 
increased to four by Sulla, eight by 
Julius, and to sixteen by Augustus 
Caesar. 

2. (aTpar-qyos). As the word in 
its literal sense means simply a person 
who takes the precedence of others, 
it was at first employed in a more 
general sense to designate a person 
who acted as chief, or had a command 
over subordinates ; thus, in early 
times, the military consul was styled 
prcetor (Liv. iii. 55. vii. 3.); and the 
same title was also frequently used to 
distinguish the commander or general- 
in-chief of a foreign army. Cic. 
Div. i. 54. Inv. i. 33. 

PR^TORIA'NI. The praetorian 
guards, a standing body of troops 
created by Augustus as a body- 
guard, in imitation of the more an- 
cient praetorian cohort {co/iors p'cz- 
toria), and continued under the suc- 
ceeding emperors until the time of 
Constantine, by whom they were 
suppressed, and their stationary camp 
at Rome broken up. (Tac. Hist. ii. 
44. Plin. H. N. vi. 35. Aurel. Vict. 
Cces. 40.) Although the arms and 
accoutrements of these troops cannot 




be declared with positive assurance, 
yet there are good grounds for be- 
lieving that the an- 
nexed figure from 
the column of Tra- 
jan represents a 
soldier of the corps 
in question ; be- 
cause soldiers 
equipped in the 
same manner are 
commonly seen on 
the columns and 
triumphal arches in 
immediate attend- 
ance on the emperor's person ; or 
forming parties sent out to reconnoitre 
the country and movements of the 
enemy, which was one of the duties 
appertaining to these guards, as may 
be inferred from Suetonius ( Tib. 60. ) ; 
and they are never represented as 
performing any of the ordinary 
labours of the legionary soldiers, 
such as digging trenches, felling tim- 
ber, making fortifications, &c. 

2. Equites prcctoriaiii. The cavalry 
which formed part of the praetorian 
guard. (Suet. Cal. 45. Id. Claud. 
21.) The illustration is copied from 




the column of Trajan ; and it will be 
observed that the character of the 
body armour as well as the form and 
device of the shield, resembles in 
every respect those of the preceding 
figure, thus constituting an additional 
ground for the belief that both these 
men were intended for praetorians. 
PR/ETO'RIUM ((TTfwnj7«W). 



5 28 



PRANDIUM. 



PRECA TIO. 



The tent of the general-in- chief or 
commander of an army (see the 
wood-cut p. 126, where it is numbered 
I.) ; so termed because the consul 
who had the chief command was in 
early days styled prcetor. Liv. x. 33. 
Id. vii. 12. 

2. The residence of the governor 
of a province, at which he administered 
justice (Cic. Verr. ii. 4. 28. Ib. ii. 3. 
35.); whence transferred to the pa- 
lace of any king or prince. Juv. x. 161. 

3. Latterly the same designation 
was also given to the splendid country 
villas of the noble and wealthy Ro- 
mans, which were built with so much 
expense and luxury under the im- 
perial period. Suet. Aug. 72. Id. 
Tib. 39. Stat. Sylv. i. 3. 25. 

PRAN'DIUM {upuTTov). A meal 
taken about the middle of the day 
(Suet. Claud. 34.), between the hours 
of breakfast {jentaculum) and dinner 
{ccend), (Suet. Vit. 13.), which we 
might translate a luncheon, or an early 
dinner, according to the nature and 
quantity of food set out for the pur- 
pose ; for it was sometimes a very 
slight and simple meal, intended 
merely to stay the stomach from long 
fasting (Hor. Sat. i. 6. 27.), consist- 
ing of bread and cheese, without meat 
or wine, and not served upon a table 
regularly set out (Celsus, i. 3. Senec. 
Ep. 83. Mart. xiii. 30. ) ; but persons 
fond of indulging their appetites used 
to set out a regular meal of delicacies 
(Cic. Phil. ii. 39.), like our hot lun- 
cheons, and even take their wine after 
it. Plaut. Men. I. 2. 61. Mart. iv. 90. 

PRASINIA'NI. Persons who 
backed the green party {/actio prasina) 
at the races of the Circus (Pet. Sat. 
70. 10. Capitol. Ver. 6. The drivers 
in the Circensian games were divided 
into four parties, each of which was 
distinguished by a tunic of different 
colours, white, red, green, and blue, 
termed respectively alba, russata, 
prasina, veneta, after which their 
supporters and backers received a 
corresponding name. 

PRAS'INUS. A driver {auriga) 



111 the Circensian races, who wore a 
green-coloured tunic, and belonged 
to the green party, as explained in 
the last word. Suet. Gal 55. Id. 
Nero, 22. 

PRECA'TIO. A praying, or 
offering of prayers {preces), to the 
divinities more especially. (Doederl. 
ii. 129. Liv. xxxi. 5. Compare 
xxxviii. 43. where a distinction be- 
tween adoratw, precatio, and sup- 
plicatio, is pointedly made. The 
attitude of prayer adopted by the 
Greeks and early Romans was an 
erect posture, 
with both the 
arms extended 
upwards (uirn- 
da-fxara x 6 P^ v - 
Aesch. Prom. 
1 04 1. Tendoque 
mpinas Ad cae- 
lum cum voce ma- 
ims. Virg. JEn. 
hi. 176. Hor. 
Cami. iii. 23. 1.), 
and the hands 
brought near together with the palms 
wide open (pandere palmas, Lucret. 
v. 1 199. ), as exhibited by the pre- 
ceding figure, representing Anchises 
in the* Vatican Virgil. But after the 
introduction of Christianity, and in 
general during 
the imperial pe- 
riod, the arms, 
instead of being 
brought together, 
were thrown 
wide apart in 
the attitude of 
prayer, though 
the posture still 
continued to be 
an erect one, as 
shown by the 
annexed figure, from a painting in a 
Christian sepulchre near Rome. The 
same posture is exhibited on nume- 
rous Imperial medals with the in- 
scription Pietas upon them, and by 
a statue of Livia in the Vatican col- 
lection. Mus. Pio-Clem. ii. 47. 





PR EL UM. 



PRISTIS. 




PRE'LUM. The press-beam for 
squeezing the juice out of grapes or 
olives (Vitruv. vi. 9. 3. Serv. ad Vug. 
Georg. ii. 241. Hor. Carm. i. 20. 9.) ; 
whence also put for the machine or 
press itself (Torcular) ; under 
which term the nature and action of 
the object is fully explained and 
illustrated. 

2. The press-beam in a press for 
clothes, linen, or paper (Mart. ii. 46. 
3. Plin. H. N. xiii. 23.), as exem- 
plified by the following wood-cut. 

PRESSO'RIUM. A clothes-press 
(Ammian. xxviii. 4. 19. sohctis prcs- 
soriis vestes diligeuter explorat. Com- 
pare Senec. Tranquill. I.). The ex- 
ample, from a paint- 
ing in the fullers' 
establishment at 
Pompeii, exhibits a 
machine precisely 
the same as those 
now employed for 
similar purposes, 
worked by a screw {cochlea) acting 
upon a press-beam {prelum), which 
flattens down the folds of cloth laid 
under it, and against the board on 
which they are placed. 

PRIMIPILA'RIS. The title re- 
tained as an honorary distinction by 
an officer who had enjoyed the rank 
of chief centurion of the first maniple 
of the triarii, after he had received 
his discharge. Quint, vi. 3. 92. Suet. 
Cal. 35. and 38. 

PRIMIPILA'RIUS. Same as 
preceding. Senec. Const. Sap. 18. 

PRIMIPI'LUS. The first cen- 
turion of the first maniple of the 
triarii. He was entrusted with the 
charge of the eagle, had the right of 
attending the council of general offi- 
cers, and took a command in the 
field in the absence of the tribune. 
Veg. Mil. ii. 8. Cces. B. G. ii. 25. 
Val. Max. i. 6. 11. 

PRIN'CIPES. A body of heavy- 
armed infantry soldiers, who formed 
the second of the three classes into 
which the Roman legion was origi- 
nally divided. It is supposed, from 



the name they bore, that in the 
earliest times the priucipes were placed 
in the first line of the battle array ; 
but subsequently they were drawn up 
in the second line, between the has- 
tati and the triarii, and they con- 
tinued to occupy this position until 
the latter end of the republic, when 
the custom was introduced of arraying 
the army by cohorts, which did away 
with the primitive distinctions be- 
tween the hastati, priucipes, and 
triarii, and reduced them all to uni- 
formity in rank and accoutrements. 
Liv. viii. 8. Compare Hastati and 
the illustration there given. 

PRINCIP'IA (plural of prin- 
cipium). The head quarters in a 
Roman camp ; comprising that por- 
tion of it where the tents of the 
general officers were situated, and 
the space in front of them where the 
legionary standards were erected, 
harangues addressed to the soldiery, 
justice administered, and the sacrifice 
performed. Liv. vii. 12. Id. xxviii. 
24. Tac. Hist. iii. 13. and woodcut s. 
Castra. 

P R I S T A {vpiarrip). A sawyer 
(Plin. H. N. xxxiv. 19. § 3). The il- 
lustration is from a terra-cotta vase, 




of Etruscan or primitive Italian 
workmanship ; which shows the use 
of a frame saw, and a simple meth od 
of supporting the timber to be cut by 
means of a stand and prop, without a 
regular saw pit. 

PRISTIS. See Pistrix. 

2 L 



530 PR0CCET0X. 



PRO NUBA, 



PROCCE'TON {irpoKoiTcZv). An 
ante-chamber (Plin. Ep. ii. 17. 10 and 
23. ) ; a convenience adopted by the 
Romans, together with its name, from 
the customs and language of Greece. 
Varro, R. R. ii. Proem. 

PROCURATOR. In a literal 
sense, one who acts as a proxy or 
agent on behalf of another ; whence 
the term was used as a title for 
the head man or superintendent of 
a Roman household, both in town 
and country establishments. Though 
himself a slave, he had the entire 
management of his master's property 
and dependants, thus acting in the 
capacity of our steward or maitre 
d hotel in town, and bailiff or agent 
in the country. Senec. Ep. 14. Co- 
lumell. i. 6. 7. Plm. Ep. hi. 19. 2. 
Cic. Or. i. 58. Id. Att. xiv. 16. 

2. Procurator peni. Plaut. Pseud. 
ii. 2. 14. Same as Cellarius and 
Promus. 

3. Procurator regni. A viceroy, or 
deputy governor. Cees. B. C. iii. 112. 

4. An officer who administered the 
property and collected the dues from 
any estates in town, or in the pro- 
vinces belonging to the emperors or 
to the senate (Suet. Cal. 47. Plin. 
Paneg. 36.). These persons were 
not slaves, but selected from the 
equestrians (Suet. Vit. 2.), or from 
the class of freedmen. Id. Ot/10, 7. 

PROJECTU'RA {yeio-rov). The 
beaver of a helmet, so termed because 
it projects like the eaves of a roof 
over the top of the face, as is 




clearly shown by the annexed ex- 
ample from an original bronze hel- 
met found at Pompeii. The Latin 
name is quoted by Becchi (Mtis. 



Borb. iii. 60. ), but without mentioning 
his authority ; the Greek one is given 
bv Pollux (i. 135. ). 

'PROMPTUA'RIUM. A store- 
closet, or store-room. Cato, R. R. 
xi. 3. Apul. Met. i. p. 17. 

PROMULSIDIA'REor-A'RIUM. 
A tray, stand, or other contrivance 
' for holding the dishes and vessels 
upon which the promulsis was served 
up. Pet. Sat. 31. 9. where the 
article is made in the form of an 
ass with a pair of panniers. Ulp. 
Dig. 34. 2. 20. 

PROMUL'SIS. The name given 
to every sort of eatable taken as a 
j stimulant to the appetite before dinner, 
I such as eggs, oysters, radishes, &c. 
Cic. Earn. ix. 20. 

PROMUS. A cellarman and 
steward ; a slave who had charge of 
j the wine and provision stores in a 
Roman household, and whose duty it 
was to serve out day by day the ne- 
! cessary quantities of each required 
j for the use of the family ; hence the 
! word is often joined with condus, the 
I steward, because the same individual 
commonly performed both offices. 
Plaut. Pseud, ii. 2. 14. 

PRONA'US or -OS {ir P 6vaos). A 
porch, or, as we call it, portico, in 
front of a temple (Vitruv. iii. 2. 8. 
Id. iv. 4. 1.); forming an open space 
surrounded with columns and sur- 
mounted by a pediment {fastigium) in 
advance of" the main body [cella) of 
the building, under which the altar 
was placed and sacrifice performed. 




The illustration represents an ancient 
temple, known as the Maison-carree, 
at Nimes. 

PRO'NUBA. A matron who 



PRO PES. 



PRORA. 



53* 



had not been more than once married, 
who attended a bride on the day of 
her wedding, in a somewhat similar, 
though not the same, capacity as the 
bridesmaid does amongst us. It was 
her especial duty to conduct the 
bride, after the marriage-feast, to the 
lectus genialis, and to give her en- 
couragement and instructions respect- 




ing the hew duties and condition of 
life she had just entered upon (Festus, 
s. v. Varro, ap. Serv. ad Virg. JEn. 
iv. 166. Compare Catull. lxi. 186. 
and Stat. Sylv. i. 2. n.); as is 
graphically shown in the illustration, 
from the celebrated Roman fresco, 
preserved in the Vatican, and known 
by the name of the " Aldobrandim 
marriage." The bride is the right- 
hand figure, still enveloped in her 
bridal veil {flammeum) ; the fironuba, 
the one on the left with a chaplet 
round her head, and in an attitude of 
persuasion or encouragement ; both 
are sitting upon the marriage bed. 
PROTES. The lower end of the 




"sheet" {pes), attached to the clues of 
a square sail ; viz. that which was 
fastened down to the quarters of the 
vessel, in order to keep the sail 



stretched to the wind, as shown by 
the annexed woodcut from a coin of 
Lepidus. Turpil. ap. Isidor. xix. 4. 
3. Compare Herod, ii. 36. 

PROPLAS'MA (Trp6ir\a(T fxa) . A 
small rough model in clay or terra 
cotta, which sculptors form in order 
to embody their first thoughts in a 
rapid and sketchy manner. It serves 
to show them the composition of their 
figures, the arrangement, grouping, 
and position of the limbs and acces- 
sories, in the different points of view 
all round; and thus to regulate the 
form of the frame upon which the 
full-sized model of the finished work 
is to be executed from nature. Plin. 
II. N. xxxv. 45. Cic. Ait. xii. 41. 

PROPNIGE'UM {tvpoirviy^ov). 
The mouth of a furnace {irviyevs) ; 
properly a Greek term, for which the 
Latin one is PrvEFtjrnium. Plin. 
Ep. ii. 17. II. Vitruv. v. 11. 2. 

PROPUGNA'CULUM. In a 
general sense is applied to any struc- 
ture on land from which men fight 
for the purposes of defence, as a for- 
tress, rampart, barricade, &c. ; and 
on shipboard, to the lofty towers 
raised above the deck, into which the 
marines (classiarii) ascended to dis- 
charge their missiles, and which gave 
to the vessel an appearance very like 
that of a fortress, as exhibited by the 
annexed fragment, from a bas-relief 
of the villa Albani, which affords a 
graphic illustration of the words of 
Horace : inter alia navium propug- 




nacula. Hor. Epod. 1. 2. Schol. 
Vet", ad I. Plin. H. N. xxxii. r. 
PRORA {irpQpa). The prow, or 



532 



PRO RET A. 



PROS TO MIS. 



forepart of a ship (Cses. Cic. Virg. 
Ovid, &c. ). Almost all the repre- 
sentations of ancient vessels, whether 
in sculpture, painting, or mosaic, are 
extremely deficient in characteristic 
details, the artists confining themselves 
to the expression of certain con- 
ventional generalities, rather than 
attempting a faithful delineation by 
which the constructive principle would 
be understood ; so much so, that 
where only fragments remain, as in 
the preceding illustration, disputes 
have arisen respecting the identity of 
the part, whether it was intended for 
the head or stern. The example an- 
nexed, from an ancient painting pre- 




served in the Bourbon Museum at 
Naples, affords, however, a specimen, 
perhaps unique, of the prow of an 
ancient vessel, which is clear and 
precise in its details, as well as prac- 
ticable in the eyes of experienced 
seamen (Jal, Archiologie Navale. torn, 
i. p. 24.) ; and resembles in a very 
remarkable degree a vessel now em- 
ployed by the Calabrese. and often 
seen in the port of Naples, called a 
chebek (Italian, sciabecco). 

PRORE'TA {Trpypar-ns) A man 
who stood upon the forecastle at the 




how to steer, as in the annexed illus- 
tration from a medal. He was second 
in command to the ^ubernator, and 
I had every thing belonging to the 
I ship's gear under his care and orders. 
Plaut. Rud. iv. 3. 86. Rutil. Itin. 
I. 455. Schaeffer, Mil. Nov. iv. 6. 

PRO'REUS {npvpsis). Same as 
the preceding. Ov. Met. hi. 634. 

PROSCE'NIUM {irpO(TKT]VLOv). 

The stage of an ancient theatre, in- 
cluding the whole space of the ele- 
vated platform, bounded by the per- 
manent wall of the sccna at the back, 
and by the orchestra in front (Vitruv. 
v. 6. 1. Ib. 7. 1. Apul. Flor. 18. 
Virg. Georg. ii. 381. Serv. ad I.). 




ship's head {prora), to keep a look 
out, and make siojis to the helmsman 



This stage, or part before the scenes, 
did not, however, extend backwards, 
either in a Greek or Roman theatre, 
to nearly so great a depth as the 
stage of a modem playhouse, because 
the number of characters in the 
ancient drama were much fewer than 
we are accustomed to introduce, and 
the chores of the Greeks performed 
all their evolutions in the orchestra, 
while the Romans did not exhibit 
any chorus at all. The illustration 
presents a view of the proscenium 
in the great theatre at Pompei, 
taken from the centre of the first 
lobby (pra:cinctio), and shows a large 
part of the orchestra, with the stage 
beyond, then the wall of the scene 
with its three entrances, and the 
boundaiy wall of the postsceuium. in a 
half tint at the back. 

PROS'TOMIS. The reading of 
some editions for Postomis : which 



PROSTYLOS. 



PSALTER1UM. 533 




PROSTY'LOS {irpSaTvXos). A 
temple or other building, which has 
a porch supported 
upon columns in its 
front, as shown by 
the annexed ground 
plan, and the illus- i 
tration to Pronaos, 
where a similar struc- 
ture is exhibited in 
elevation. Yitruv. |j 
iii. 2. - 

PROS'TVPU M (irpotrrvwov, 
Callix. ap. Athen. v. 30.). The 
reading adopted in some editions of 
Pliny (H. N. xxxv. 43.) instead of 
protypum^ and interpreted to mean 
images in lozu relief (basso-rilievo), as 
contradistinguished from such as are 
executed in high relief (alto-rilievo). 

PROSU'MIA. A small sea-going 
craft, employed as a spy ship, to keep 
a look out and watch the motions of 
an enemy's fleet ; but beyond this, its 
characteristic peculiarities are not as- 
certained. Festus, s. z: Caecil. ap, 
Non. s. v. p. 536. 

PROTH'YRUM (ZidQvpov). An 




.iiirance hall in a Roman house ; that 



is, a small corridor situated between 
the street door (jauua), which was 
probably always kept open in the day- 
time, as is still the practice of modern 
Italy, and the house door {ostium), 
which gave immediate access to the 
atrium, and interior of the house. 
The Greek name defines it more 
accurately as the passage through (Sid) 
or part between the doors ; and their 
■npoQvpov, or place before the door, 
corresponds with the Roman ves- 
tibulum (Yitruv. vi. 7. 5.). The 
woodcut represents an entrance-pas- 
sage to one of the houses at Pompeii, 
with the ceiling and doors restored 
to give a more complete notion of 
the locality ; the columns seen through 
the furthest door, one leaf of which is 
represented as closed, are those of the 
atrium. 

PROT'YPUM (TTPOTVTTOV). A 

model after which anything is formed, 
corresponding with our prototype. 
In a passage of Pliny [H. N. xxxv. 
43.), the term is used to designate 
reliefs in terra cotta employed as 
antefixes (autefxa) for decorating 
buildings, and which could be multi- 
plied to any extent, by making a 
mould {forma) upon them, and taking 
casts {ectypa) from it ; but the reading 
of the passage is not altogether cer- 
tain, and some editors adopt Pros- 
TYPUM in its stead. 

PROVOCATO'RES. A class of 
gladiators respecting whom nothing 
definite is known, excepting that they 
usually engaged with the Sammies. Cic. 
Sext. 64. Inscript. ap. Orelli, 2566. 

PSALTE'RIUM {^oX^piov). A 
psaltery, that is, a stringed instrument 
(Varro, ap. Non. J. Nervi, p. 215. 
Yirg. Ciris, 179.), of mixed cha- 
racter, between the cithara and the 
harpa, to both of which it possessed 
certain points of affinity — to the 
former in having a hollow sounding 
belly formed of wood, over which 
the chords were stretched, but 
which, instead of being held down- 
wards in the act of playing, as was 
I usual with the cithara (see the wood- 



534 PSALTER1UM. 



PSE UDISODOMUM. 



cut s. v. ), was carried upwards on the 
shoulder, so as to constitute the top 
rather than the bottom of the instru- 
ment (Isidor. Orig. hi. 21. 7. Cas- 




oiod. in Psalm. 150. August, in Psalm. 
56.) ; and to the latter, in having a 
bent frame which kept the strings j 
extended from its centre, so that the 
figure presented by the three parts, 
the strings, belly, and trunk, approxi- 
mated to the form of a bow, if 
the juncture of the belly and trunk 
possessed a circular conformation, as 
in the engraving ; or of a triangle, if 
the juncture was an angular one, as 
is the case with an original specimen 
of the same instrument, now preserved 
in the Paris collection of Egyptian 
antiquities. This account, collected 
from the different passages quoted | 
above, with the assistance of the 
figures in the illustration, seems to 
leave no doubt respecting the identity 
of the instrument. The lower wood- 
cut represents an original in the 
British Museum, the belly of which 
is covered with leather, strained over 
it, and perforated with holes to allow 
the sounds to escape : the upper one, 
from a painting at Thebes, exemplifies 
the method of holding and playing 
the instrument. 

2. ypaKr-qpiou upQiov. The upright 
psalteiy, mentioned by Athenseus 
(iv. 81.) as a different instrument 
from the common one, was probably 
the same, or neai'ly similar to the 
Harpa : see the example s. v. p. 
328, which strongly resembles the 
preceding figure from Thebes, when 



placed in an upright instead of a hori- 
zontal position. 

PSAL'TES tydATTis). One who 
plays upon a stringed instrument, as 
a general term. Quint, i. 10. 18. 
Sidon. Ep. viii. 9. 

PSAL'TRIA WdArpia). In a 
general sense a female who plays 
upon any stringed instrument, as in 
the annexed figure, from a fresco ex- 
cavated at Civita, in the year 1755, 
representing the Muse Erato, which, 
in the original, has the word \pdhrpia 
inscribed underneath ; but the term 
is frequently used in a more special 
sense to distinguish a class of women, 
not remarkable for rigid virtue, who 
made a profession amongst the 
Greeks of going about to play and 
sing at banquets for 
the amusement of the 
guests, representations 
of whom are frequently 
introduced in the de- 
signs on the Greek 
vases, in which revels 
and drinking parties 
[comissationes) are de- 
picted. The same 
practice was intro- 
duced at Rome, after 
the conquest of An- 
tiochus, by the army 
which had served in 
Asia. Liv. xxxix. 6. 
Juv. Sat. vi. 337. 

PSEUDISOD'OMUM (^vdiaS- 
Sofxou). One of the earlier and less 





perfect styles of masonry in use 
amongst the Greeks, in which the 
stones, though laid in regular courses, 
were not all of corresponding size or 



PSE UDODIP TER OS. 



PTE ROMA. 



535 



height ; consequently, though all the 
courses were parallel, and every stone 
in the same course of one height, 
yet the respective dimensions of each 
course ' differed from the others, 
which produced the effect of false 
equality indicated by the term. (Vi- 
truv. ii. 8. 6. Plin. H. N. xxxvi. 51. 
and compare Isodomum. ) The illus- 
tration represents one of the entrances 
into the ancient citadel of Mycenae, 
and consequently affords a very early 
instance of the style. 

PSEUDODIP'TEROS {^vloli- 
TrTtpos). Pseudcdipteral ; a term em- 
ployed to designate an edifice which 
presents the appearance of having a 
double colonnade round it, though in 
reality it is only a single one, which 
possesses the same projection from 
the walls of the cell as the dipteral 




structure, but the inner row of co- 
lumns is dispensed with. (Vitruv. 
iii. 2. ) The colonnade is thus twice 
as wide as that which is termed 
simply peripteral ; and of the same 
width as the dipteral, thus combining 
increased accommodation with less 
cost. Compare the woodcuts s. Dip- 
teros and Peripteros with the pre- 
sent one, which will make the dis- 
tinction self-evident. 

PSEUDOPERIP'TEROS (^ev5o- 
■n-epLirTfpos). Pseudoperipteral ; a term 
employed to designate an edifice 
that appears to have a colonnade all 
round, which, in reality, it does not 
possess ; the walls of the cell being 



|i m m la 

l!'r 






iih 1 






if m m 







merely furnished with half or three- 
quarter columns to correspond with 



the isolated ones of the porch. (Vi- 
truv. iii. 2.) By such an arrange- 
ment more room was afforded for the 
interior, as is clearly shown by the 
example, representing the ground- 
plan of the temple of Fortuna Virilis 
at Rome, while the distribution of 
the columns on the flanks suggests 
the notion of a colonnade, as may be 
seen by the illustration s. Pronaos, 
which exhibits a design of the same 
style in elevation. 

PSEUDOTH'YRUMW€u8(J0i/po»O. 
A false or rather secret door, for the 
purpose of giving ingress and egress 
to the premises, without being sub- 
jected to observation. Ammian. xiv. 
1. Compare Cic. Sen. 6. Id. Verr. 
ii. 2. 20. 

PSEUDOURBA'NA sc. eedificia. 
Those parts of a farmhouse or country 
villa which were appropriated to the 
use of the owner and his family, i. e. 
the mansion itself, apart from the 
farm-buildings and the tenements 
occupied by the farming-men {familia 
rustica) (Vitruv. vi. 5. 3. compared 
with Columell. i. 6. 1.). The term 
pseudourban, which might be trans- 
lated city-like, was given to the 
above-mentioned part of the villa, 
because, though in reality a country- 
seat, it was designed and laid out 
upon the same plan and with the 
iame luxuries as a town mansion. 

PSILOCITHARIS'TA (^Ao/n0a- 
pi(TT(]s). One who merely plays 
upon the guitar {cithara) as an in- 
j strumental performer, without ac- 
companying it with his voice. Suet. 
Dom. 4. 

PSILO'THRUM W\co0pov). An 
unguent or medical preparation, made 
chiefly of heated arsenic and unslaked 
lime, employed for removing hairs 
from the surface of the skin, by men 
of effeminate habits as well as women. 
Mart. iii. 74. vi. 93. Plin. //. JV. 
xxiv. 37. Id. xxxii. 47. 

PTERO'MA or PTER'ON (ttt€- 
pccfxa, TTTepov). In architecture, a 
colonnade on the flank of a temple, 
or other edifice similarly constructed, 



536 



PTEROTUS. 



PUGIO. 



projecting from the wall of the cell 
on each side, like a pair of wings, 
which resemblance gave rise to 
the name (Vitruv. iii. 3. 9.) ; but in 
buildings which had no side columns, 
and an outwork on each side of the 
central pile, similar to what we call 
wings, or only a blank wall running 
out like a screen, such an outwork or 
wall was designated by the same 
name. Plin. H. N. xxxvi. 4. § 9. 
Id. xxxvi. 13. Strabo. xv'n. 28. 

PTERO'TUS (TH-eporo's). Pro- 
perly a Greek word, meaning winged, 
but employed as a characteristic epi- 
thet for the drinking-cup, termed 
calix, because it was furnished with 
handles on each side, like wings, as 
exhibited by the il- 
lustration represent- 
ing an original calix 
of Greek manufac- 
ture. Plin. H. N. xxxv. 66. 

PUBLICA'NUStreAc^. N. T.). 
A publican, in the sense which that 
term bears in our version of the New 
Testament, meaning thereby a person 
who took a contract of the public 
taxes from the state at a stipulated 
amount, he employing and paying 
the underlings who collected them, 
and reserving to himself for his own 
profit all that remained beyond the 
sum at which he had taken the con- 
tract. The Roman publican was in 
general a person of equestrian rank. 
The taxes he collected were the land 
tax, levied upon pastures ; the tithe 
of corn, from arable lands ; and the 
customs dues on imports ; and as he 
stood in the place of a middleman, 
and had the onus of direct collection, 
which would be rigorously enforced, 
to make a good profit of the contract, 
the reputation he bore was, in gene- 
ral, far from being flattering or 
popular ; though his wealth made 
him an important and influential per- j 
sonage. Plin. H, N. xxxviii. 8. Cic. 
Plane. 9. Liv. xliii. 16. 

PUGIL (irvKTys). A boxer; that j 
is, one who fights with the fist {pug- I 
mis, 7ru|). The art of boxing {pugi- j 




latio, pugilatus) dates from a remote 
antiquity, being practised by the 
Greeks and Etruscans in 
very early times, and con- 
tinuing to be a popular 
exhibition at Rome dur- 
ing the republic and em- 
I pire. (Liv. i. 35. Cic. 
Tusc. ii. 17. Suet. Aug. 
45. ) The attitudes, 
guards, and method of 
directing the blows ex- 
hibited in various works 
of art, indicate that the 
boxing of the ancients 
resembled in most re- 
spects the practice of our 
own countrymen, with one important 
exception, which must have rendered 
their conflicts cruelly severe — that of 
covering the lower part of the arm 
and fists with thongs of leather studded 
with knobs of metal (C^estus), as is 
shown by the annexed illustration, 
from a well-known statue of the 
Villa Borghese. 

PUGILA'TIO-A'TUS(7ru7//axi'a). 
Boxing ; a boxing-match. See Pugil. 

PUGILA'TOR. Same as Pugil. 

PUGILLA'RES. Small tablets 
covered with wax for writing on, so 
termed from their diminutive size, 
because they could be held commo- 
diously in a little hand {pugillus). 
They were principally used for me- 
morandum books, for noting down 




first thoughts, and to be despatched 
as love letters ; which intention is 
exemplified by the illustration, from 
a Pompeian painting, representing 
Cupid with a love billet which Poly- 
phemus sends to Galatea. Serec. 
Ep. 15. Plin. Ep. i. 6. 1. Ib. 22. 11. 
PUG'IO (iyxeipti">y). A short, 



PUGIUNCULUS. 



PULVINAR. 



537 



two-edged, sharp-pointed dagger, 
openly worn on the right side, more 
particularly by officers in the army, 
and persons of rank under the empire, 
as well as by the emperors themselves, 
in order to indicate their power over 
life and death. (Cic. Phil. ii. (S ~^ 
12. Suet. Vit. 15. Tac. Hist. ]V 
iii. 68. Id. i. 43. Val. Max. XL 
iii. 5. 3.) The example is yf 
from an original of bronze in 1 I 
the Neapolitan Museum ; the I 
holes on the handle were in- 1 
tended for the reception of * 
ornamental studs. 

PUGIUN'CULUS. Diminutive of 
Pugio. A small dagger, a dirk. 
Cic. Fragm. contra C. Anton, ap. 
Ascon. Id. Or. 67. 

PULLA'RIUS. The person who 
had the care of the sacred chickens 
(woodcut s. Cavea, 3. ), and affected 
to predict the results of future events 
from the manner in which they ate 
or rejected their food. Cic. Div. ii. 
34. Liv. x. 40. 

PUL'PITUM {Pvna). A tribune 
or pulpit made of wood and of a 
moveable character (Suet. Gramm. 4. 
remote pulpito), into which an orator, 
declaimer, grammarian, &c. , ascended 
for the purpose of making himself 
conspicuous, and acquiring a com- 
manding situation, when about to 
address an audience. Hor. Epist. i. 
19- 40. 

2. (Aoye7ov, ouplfias). In an ancient 
theatre that part of the stage {pro- 
scenium) which was nearest to the or- 
chestra, upon which the actors stood 




when they delivered their dialogues 



or speeches (Hor. A. P. 278. Vi- 
truv. v. 7. 2. Ib. 6. 1. Propert. iv. 
1. 16.). It is represented by the 
elevated platform on the left side of 
the annexed woodcut, which affords 
a view across the pit and stage in the 
small theatre at Pompeii ; the dark 
groove which runs along it, shows 
the recess into which the drop-scene 
{auhea) was lowered. 

PULSAB'ULUM. An instrument 
with which the chords of a stringed 
instrument were struck (Apul. Flor. 
15.) ; for which the more usual name 
is Plectrum, where an illustration 
is introduced. 

PULTA'RIUS. Properly a vessel 
in which pottage ( puis) was served 
up. It was made in the form of an 
inverted funnel (Pallad. vi. 7. 2. 
Compare Columell. ix. 15. 5.), with a 
j broad bottom and narrow mouth, 
I which may be easily conceived in the 
I absence of any authentic specimen ; 
i and was likewise employed for other 
j purposes to which such a figure 
! adapted itself, as a cupping-glass 
! (Celsus, ii. il.)> ar >d a vessel for 
drinking out of. (Plin. H. N. vii. 
54. Pet. Sat. A.2. 2.) 

PULVIL'LUS. Diminutive of 

[ PULVINUS. 

PULVI'NAR or POLVI'NAR. 
i May be translated by our terms 
pillow, bolster, cushion, as best suits 
j the purpose for which it is applied, 
j But the term conveys a notion of 
j greatness and grandeur, and is to be 
; understood, when strictly used, as 
I indicating a cushion of large size and 
1 costly materials, such as would be 
used for beds and couches on which 
the body reclines, rather than for 
chairs and seats, or for a sitting pos- 
ture. Pet. Sat. 135. 5. Senec. Ira, 
\ iii. 37. And woodcuts, pp. 374, 375. 

2. Hence the word is principally 
j used to designate the splendid couches 
I with cushions and squabs, upon 
! which the images of the gods were 
j laid at the feast of the Lectister- 
I nium, to partake, as it were, of the 
! banquet spread before them (Cic. 



5 3 8 PUL VINA RI UM. 



PUNCTUM. 



Phil. ii. 43. Id. Dom. 53. Liv. xxx. 




21.); as exhibited by the annexed 
woodcut from a terra-cotta lamp. 

3. In the circus, a spot where 
couches of the same description were 
laid out for those deities whose statues 
were carried in solemn procession 
at the Circensian festival. Festus, s. 
Thensa. Suet. Aug. 45. Id. Cal. 4. 

4. A bed of state, or marriage bed ; 
but with especial reference to those of 
the divinities (Catull. lxiv. 47.), and 
of the Roman emperors, to whom 
divine honours were paid. Suet. 
Dom. 13. Juv. vi. 132. 

PULVINA'RIUM. The place in 
a temple where the couches of the 
deities were set oat at the feast of 
the Lectister nium. Liv. xxi. 62. 

PULVINA'TUS. Having a full 
or swelling contour, like a bolster or 
cushion ; whence applied as a technical 
term by architects to the capitals of 
Ionic columns, the sides of which, 
formed by the lateral part of the vo- 



character, and so more particularly 
descriptive of those which were used 
for sitting on (Cic. Or. i. 7. Id. 
Fam. ix. 18., and woodcut s. Ca- 
thedra), resting the head against, 
like the pillow of a bed (Sail. Jug. 
74, and woodcut s. Cervical), or 
leaning upon, like the pillow on 
which a person supported his elbow 
on a triclinary couch (Nepos, Pel. 3. 
and woodcut s. Cubital), than of 
such as were intended for the re- 
ception of the body in a reclining 
posture. 

2. In architecture the bolster or 
baluster on the sides of an Ionic 
capital (Vitruv. iii. 5. 7.), which 
imitates the full and swelling outline 
of a stuffed cushion as shown by the 
preceding woodcut. 

3. In a warm- water bath {alveus), 
the part immediately above the step 
{gradus) on which the bather sat, and 
which thus constituted as it were a 
cushion for his back to lean against 
(Vitruv. v. 10. 4.). The illustration 





lute, present a round or swelling 
shape, like a bolster, as shown by the 
annexed example from a capital be- 
longing to the temple of Minerva 
Polias. Vitruv. i. 2. 6. Id. iii. 5. 5. 

PULVI'NUS. In its general 
applications has nearly the same 
meaning as Pulviuar, a pillow, 
cushion, or bolster ; but, in strictness, 
of a smaller and less ostentatious 



represents a section of the warm bath 
in the thermal chamber at Pompeii, 
in which A is the bath itself, B the 
I step on which the bather sat, and C 
I the cushion or pulvinus for his back. 
4. A ridge between two trenches 
in a field or garden (Plin. H. N. 
xvii. 35. § 4. ) ; and a raised border 
or flower bed (Varro, R. R. i. 35. 1.) ; 
both from their resemblance to the 
upheaving form of a pillow or squab. 

PUMILIO'NES, PUMILO'NES, 
PU'MILI. Senec. Ep. 76. Stat. 
Sylv. i. 6. 57. Suet. Aug. 83. Same 
as Nani, which see. 

PUNCTUM. Any small hole 
made by piercing, or pricking ; 
hence a vote or suffrage ; because in 
early times, before . the custom of 
j voting by ballot had obtained, the 



PUPA. 



PUTEAL. 539 



poll clerk (rogator) held a list of the 
candidates inscribed upon a tablet 
covered with wax, and scored off 
each vote as it was announced, by 
making a puncture in the wax against 
the initials of the candidate whom 
the elector supported. Cic. Plane. 
22. Id, Tusc. ii. 24. 

2. One of the points or units upon 
a die (Mart. xiv. 17. Compare 
Suet. Nero, 30.). The 
example is copied 
from an original die 
found at Herculaneum. 

3. One of the fractional marks or 
points on the beam of a steel-yard 
[staiera] by which the exact weight 
is indicated (Vitruv. x. 3. 4.). The 




introduced in various parts of these 
pages ; but the annexed example, 



example represents an original steel- 
yard of bronze found at Pompeii. 

PUPA (/cop/). In the primitive sense 
a little girl ; thence a child's play- 
thing, or doll (Varro, ap. 
Non. s. v. p. 156. Pers. ii. 
70. llievon Epist. 128. n. 1.). 
The illustration represents 
an original ivory doll dis- 
covered in a child's se- 
pulchre near Rome; and 
another specimen of terra- 
cotta, found in Sicily, and 
more elegant in design, is 
published by the Prince of 
Biscari, Degli antichi Orna- 
menti e Trastulli de' Bambini, tav. v. 

PUPPIS {irpifxva). The poop, 
stern, or after part of a ship. The 
works of art, hitherto discovered, do 
not furnish us with any clear and 
satisfactory example of the precise 
manner in which the ancient ship- 
builders constructed the sterns of 
their vessels, beyond the fact that 
they are always represented round, 
and in many cases scarcely dis- 
tinguishable from the prow {prora). 
Of such, numerous specimens are 






composed by the Academicians of the 
Royal Antiquarian Society at Naples 
{Academici Ercolanesi) from parts 
or indications observable in different 
ancient monuments, is introduced 
in order to give a more practical 
notion of the real appearance pre- 
sented by the stern view of an ancient 
vessel, than what can be acquired 
from the conventional figures mostly 
exhibited by the artists of antiquity. 
If compaied with the illustration s. 
Prora, which shows a prow faith- 
fully delineated from the antique, it 
will be at once seen how well the 
two would suit together, as the fore 
and after parts of the same vessel. 

PUT'EAL. A dwarf wall or 
circular shell of marble or other 
materials surrounding the mov.th of a 
well {puteus) as a protection against 
the danger of falling in. Many of 




these have been found in excavations, 
and may be seen in the various collec- 



54° PUTEUS. 



PYCNOSTYLOS. 



tions of antiquities, oftentimes richly- 
decorated with figures or other devices 
in relief (the putealia sigillata of Cic. 
Ait. i. io. ) ; and the annexed woodcut 
shows one of the same description 
still covering the mouth of a well, as 
it now exists in the cloisters of the 
convent attached to the basilica of 
S. Giovanni Laterano at Rome. 

2. When any spot was struck with 
lightning it was immediately deemed 
sacred, and venerated as such by the 
Romans, being surrounded by a shell 
of the same character and name as 
last described, in order to preserve it 
from the tread of profane feet (Cic. 




Sext. 8. Ov. R. Am. 561). Amongst 
these the puteal Li bonis or Scribo- 
niamim in the Roman forum, was 
much celebrated, as the spot near 
which usurers met and money affairs 
were negotiated. It is represented 
by the annexed woodcut from a 
medal of the Scribonian gens, and has 
the inscription, Puteal Libonis, 
underneath. 

PUT'EUS and -UM {cppUp). A 
well ; artificially dug in the ground, 
and supplied from its own spring of 
water, of which examples are given 
s. Girgillus, and s. Puteal. Cic. 
Hor. Plin. &c. 

2. A pit sunk in the earth for 
storing grain, as we do potatoes. 
Varro, R. R. i. 57. 2. 

3. An air or vent hole in the water 
course of an aqueduct, of which a 
sufficient number were formed at 
regular intervals throughout its whole 
length. When the duct was a sub- 
terranean one, the vent holes were 
constructed like the shaft of a tunnel ; 
when there were two or more sepa- 
rate courses of water conveyed by 
the same aqueduct, one over the 



other, the vent holes of the lower 
ones were formed at the sides of the 
channels, above the level of the 




flowing water; but when there was 
only a single course, the opening was 
made in the top, as exhibited by the 
annexed illustration, representing a 
portion of the Alexandrian aqueduct 
at Rome, in which A shows the 
channel (speais), through which the 
water flows, and B the pitteus ox vent 
hole in question. Vitruv. vii. 8. 

PUTIC'ULI or -L.E. Grave pits 
in which the bodies of slaves and 
people of the poorest classes, who 
could not afford the expense of a 
private tomb, or of a funeral pyre, 
were interred as in a public burial 
ground. Originally they were situ- 
ated on the Esquiline hill, but were 
removed from that locality in the 
time of Augustus, out of regard for 
the healthiness of the district, the site 
being subsequently occupied by the 
palace and gardens of Mecsenas. 
Varro, L. L. v. 25. Festus, s. v. 
Compare Hor. Sat. i. 8. 10. 

PYCNOSTY'LOS {ttvkv6(ttvKos). 
Pycnostyle ; a term employed by the 
ancient architects to de- <§-ii# 
signate the closest of the n„2~^ 
five different kinds of ^._ 2 ^-m 
intercolumniation in use _ z -m, 
amongst them, which ^ * 
only had an interval of 4 © 
one diameter and a half between each 
column, as shown by the top line in 
the annexed diagram, exhibiting at 
one view the relative proportions of 
all the five styles. It was only ap- 
plied in the Ionic and Corinthian 
orders. Vitruv. iii. 2. 



PYCTA. 



PYXIDICULA. 



541 



PYCTA or PYC'TES {-kvk^s) 



(Phaedi 



24. Senec. Contr. i. 3. ). 



Merely a Greek word Latinized, for ! 
which the genuine Latin term is ! 
PUGIL ; which see. 

PYR'A (Trvpd). A funeral pyre ; 
made of unhewn wood piled up into 
a square form, upon which the corpse 
was placed with its bier to be burnt. 
It was designated pyra, before the 
fire was applied, as in the annexed 
representation of Dido's pyre in the 
Vatican Virgil ; but rosrtts when ig- 



graved gem, may be identified as a 
tomb by the accompanying figure 
intended to represent a gladiator of 
the class termed bustuarii, who were 
engaged to fight round the burning 
pyre of distinguished persons. 

PYR'GUS. (Sidon. Ep. viii. 12.) 
A word coined from the Greek irvpyos, 
though not occurring with the same 
identical signification in that lan- 
guage, and for which the genuine 
Latin word is TuRRiCULA, which see. 

PYRR'HICHA and PYRR'- 




nited. Virg. JEn. xi. 185. Serv. ad 
I. Id. Alii. xi. 204. 

PY'RAMIS (irvpafxl';). A pyramid, 
a structure upon a square base, taper- 
ing gradually to a point at the top. 
The particular form, as well as the 
name, originated without doubt with 




the Egyptians ; but for what precise 
object is still undetermined. It 
was, howexer, adopted by the Etrus- 
cans (Plin. H. N. xxxvi. 19. § 4.) 
and the Romans, as an appropriate 
design for sepulchral monuments; all 
those which are mentioned by their 
writers having been constructed for 
that purpose, as well as the one now 
remaining at Rome, which is known 
as the pyramid of C. Cestius ; and 
the one here introduced from an en- 



HICHE (-Kvpp'ixri). A Greek war- 
dance of Doric origin, performed to the 
sound of the flute in rapid measure, 
the performers wearing their armour, 
and imitating by their motions the 
attack and defence of combatants in 
a battle. The illustration, copied 
from a fictile vase, is generally re- 
ceived as a representation of the 
old Pyrrhic dance, as executed by 
the Greeks ; of which an imitation 
was introduced at Rome by Julius 
Csesar, and also exhibited by suc- 
ceeding emperors. Suet. Jul. 39. 
Nero, 12. Spart. Hadr. 19. 

PYTHAU'LA or-LES (irveav\ V s). 
In its original and proper acceptation 
signified a musician who played an 
air upon the pipe (av\6s), expressive 
of the combat between Apollo and 
the Python (Hygin. Fab. 273.); 
whence the name was afterwards 
given to a musical performer at the 
theatre, who played the accompa- 
niment to a single voice, as contra- 
distinguished from the C/ioraules, 
who accompanied the entire chorus. 
Diomed. iii. 489. Varro, ap. Non. s. 
Ramices, p. 166. 

PYXIDICULA. Diminutive of 



542 



PYXIS. 



QUADRANTAL. 



PYX'IS {vvtfs). Literally, a small 
box or case made of boxwood, but 
formed in a particular manner ; viz. 
with a lid having a lip or return 
which shuts over the edge of the 
box, like the mouth of a tortoise 
(Plin. H. N. ix. 12.), as is very 
plainly expressed in the annexed 
woodcut from the design on a fictile 
vase. But as boxes of this character 
were made of various other materials 
besides boxwood, and extensively 
used for holding any small articles of 
use or ornament, especially such as 




are characteristic of female habits, 
the word possesses in general a sig- 
nification analogous to our jewel case, 
trinket box, and such other recep- 
tacles as receive their characteristic 
name from the nature of the objects 
contained in them. Pet. Sat. no. 
Mart. ix. 38. Suet. Nero, 12. Cic. 
Cel. 25. 



QUAD'RA. In a general sense 
implies anything which has four 
corners, or possesses a square form ; 
whence specially : — 

1. A square dining- table (Virg. 




distinct from a round one ; both of 
which forms were adopted by the an- 
cients, the former being the earliest 
model, the latter of most common 
usage. Hence the expression aliena 
vivere quadra (Juv. v. 2.) denotes a 
parasite, who lives at another man's 
expense ; or, literally, at another 
man's table. The illustration repre- 
sents a square dining-table, from the 
Vatican Virgil, spread before the 
companions of Ulysses, in the island 
of Circe. 

2. The Roman architects employed 
the word in two different senses ; — to 



A small 
[uncice) in 



JEn. vii. 115. Ib. iii. 257.) as contra- 



designate the square member or plinth 
placed under the base [sfiira) of a 
column (Vitrav. iii. 4. 5.) ; and each 
of the narrow flat bands with plain 
surfaces, forming respectively the 
upper and lower division between the 
hollow scotia and swelling torus above 
and belcw it (Id. iii. 5. 2. and 3.) ; 
all which members are exhibited by 
the illustration annexed. 

QUAD'RANS (rei-pos) 
copper coin, three ounces 
weight, and equal to a 
fourth part of the As in 
value. It is marked with 
three balls to designate the 
weight, accompanied with 
the device of an open hand, 
a strigil, a dolphin, grains of corn, a 
star, the image of a ship, or the head 
of Hercules or Ceres ; all of which 
are found on different specimens in 
various numismatic collections. (Plin. 
H. A r . xxxiii. 13. Hor. i. 3. 137. 
Mart. ii. 44. ) The example here in- 
troduced is from an original, weighing 
in its present state 2 oz. 1 79 gr. , and 
is drawn of one -third the actual size. 

QUADRANT AL. A vessel with 
four square sides, each a foot long, 
employed as a measure for liquids, 




QUADRIFORIS. 



QUADRIR EM IS. 543 



the solid contents of which were 
equal to an amphora. Cato, R. R. 57. 
2. Plaut. Cure. i. 2. 16. Festus, s. v. 

QU ADRIF'ORIS sc.Jamta (rerpa- 
Ovpos). A door, in which each of 
the two valves fold back into two 
parts, thus forming altogether foitr 
pieces, upon the same principle as 
our window-shutters and folding- 
doors ; as is exemplified by the illus- 
tration, representing a cabinet or 




armoire, from a Pompeian painting. 
Vitruv. iv. 6. 5. 

QUADRI'GA {riSpnnvov S-p/xa). 
A team of four horses or other ani- 
mals ; thence a carriage drawn by four 
horses abreast, and more especially 
applied to the racing chariots of the 
Circus (see the following woodcut), 
or to those employed in public pro- 
cessions, triumphs, &c. (Cic. Liv. 
Suet. &c.) Carriages of this descrip- 
tion were originally furnished with 
two poles and a long cross-bar or 1 
yoke, which stretched across the 1 
backs of all the four animals, in the j 
same manner as shown by the first 
woodcut s. Biga. But that practice ' 
was early set aside, and then the two j 
centre horses only were yoked, and 1 
termed jugales, the two outside ones j 
being attached by ropes, and termed 
funales. Isidor. Orig. xviii. 35. In 
the Pompeian mosaic representing 
the battle of Issus, which is, perhaps, 
the most naturalistic, and therefore 
the most accurately circumstantial of j 
all the ancient pictures yet discovered, \ 
the outriggers to the quadriga of 
Darius have no traces, but are at- j 
tached to the front of the chariot on ! 
each of its sides by a rope, which 



appears also to run through a loop 
coupling them to the two innermost 
horses. 

QUADRIGA'RIUS. A charioteer 
who drove a team of four horses 
abreast ; more especially applied to 
one who drove a four-horsed car 
{quadriga) at the races of iha Circus ; 




as represented by the annexed cut 
from the device on a terra-cotta 
lamp. Cic. Fragni. Varr. R. R. ii. 
7. IS- Suet. Nero, 16. 

QUADRIGA'TUS. A silver de- 
narius, so termed from its having the 




impress of a quadriga stamped on the 
reverse, as shown by the annexed 
specimen from an original of the 
same size. Plin. H. N. xxxiii. 13. 
Liv. xxii. 58. 

QUADRIRE'MIS (rerpw). A 
war-galley propelled by four banks 
[ordihes) of oars on each of its sides. 
(Plin. H. N. vii. 57. Cic. Verr. ii. 5. 
33. ) The illustration, copied from a 
medal of the Emperor Gordian, though 
too minute and imperfect to be re- 
ceived as a complete representation 
of a quadrireme, yet affords a valuable 
and most satisfactory authority re- 
specting the chief point which dis- 
tinguished the • class to which it be- 
longed, viz. the position and rating 
of its oarage. It will be perceived 
that four separate banks, in tiers 



544 



QUADRIVIUM. 



QUINARIUS. 



superimposed one above the other, 
are distinctly expressed by the four 




horizontal lines indicating the sepa- 
ration of each bank, and the diagonal 
position of each file of oars, by the 
angular termination of their extre- 
mities on the left side of the entire 
range ; thus plainly demonstrating 
that the principle followed in dis- 
posing and reckoning the oarage of a 
quadriremis, -was the same as that 
practised in the Biremis and Tri- 
REMIS, the illustrations under which 
words, being upon a larger scale, and 
from more detailed models, will show 
the matter in a clearer light. 

QUADRIVIUM (rerpaJSioO. A 

i 



place where four streets or cross 
roads meet (Catull. 58. Juv. i. 64). 
The illustration represents a street view 
of this nature in the citv of Pompeii. 

QUA'LUS and -UM {rdxapos). 
A very general name for a wicker 
basket, which might be employed for 
various purposes ; as, a woman's wool 
basket (Hor. Od. iii. 12. 4. and next 
woodcut) ; a strainer made of wicker j 
work, used at the vintage (Virg. I 
Geoj-g. ii. 242. Serv. ad I. and wood- j 
cut s. Colum, 1.) ; a wicker cage or 
coop for fowls (Columell. viii. 3. 4. j 
and woodcut s. Cavea. 2.). It will j 
be observed that all the baskets in 
the illustrations referred to possess a | 
conical shape, though sometimes 



standing upon their base, and at 
l others used in an inverted position, 
which is the very form described by 
Columella (ix. 15. 12.), and conse- 
quently to be received as the distin- 
: guishmg characteristic of the qualus. 
QUASILLA'RL/E. Female slaves 
engaged in the spinning department 
of an ancient household, whose duties 
consisted in carrying the baskets of 
wool [quali, quasilli) to the spinners 
and weavers, while they were occu- 
pied with their tasks. They formed 
the lowest rank in the household. 
' merely attending upon other slaves, 
and not being themselves skilled in 
any branch of industrial art (Pet. 
Sat. 132. 3. Inscript. ap. Grut. 648. 
5.). The illustration represents two 
females of this class with the basket 
between them, from a frieze in the 
forum of Nerva at Rome, on which 
various processes connected with the 

6i 





arts of spinning and weaving, and 
different classes of workwomen, are 
sculptured. . 

QUASILL'US and -UM {rahapls). 
Diminutive of Qualus ; especially 
applied to the basket in which wool 
and spinning implements were earned, 
as explained and illustrated under 
the last two words. Tibull. iv. 10. 3. 
Prop. iv. 7. 41. 

Q U I NA'RI US. A half denarius ; 




a silver coin of Roman currency, 



QUINCUNX. 



RADIUS. 



545 



worth about ^d. of our money, j 
(Varro, L. L. v. 173. Plin. H. N. I 
xxxiii. 13.)- The example is from 
an original of the actual size. 

QUINCUN'X. A copper coin of 
Roman currency, weighing five 
ounces {uncice), and equal in value to 
five twelfths of an As (Hor. A. P. 
327.). It was distinguished by five 
balls to denote its value, of the same 
character as those which appear on 
the quadrans (woodcut s. v.) ; but 
the coin itself is of extreme rarity, 
and the British Museum does not pos- 
sess a specimen. 

2. A figure of things arranged in 
the same position as * * * * 
the five points {punc- * * * 
id) are upon a die. * * * * 
Cic. Sen. 17. Cses. * * * 
B. G. vii. 73. * * * * 

Q U IN CU PEDAL. A five-foot 
rod, divided into graduated parts, for 
taking measurements. Mart. xiv. 92. 

QUINQUERE'MIS {irevrijpvs). 
A war galley equipped with five 
banks {or dines) of oars on each side ; 
a class of vessels very commonly em- 
ployed during the second Punic war. 
(Liv. xxviii. 30. Plin. // N. vii. 57. 
The absence of any known represen- 
tation of an ancient quinquereme 
renders it impossible to show the 
disposition of the oarage in vessels of 
this class by reference to a model of 
undoubted authority ; but there are 
fair conjectural grounds for believing 
that each bank was placed and rated 
in an ascending line, one over the 
other, the oar ports of all the five 
ranging diagonally in file, in the 
manner shown by the following dia- 
gram ; because the biremis, triremis, 
and quadriremis are shown by existing 
monuments to have been rated and 
constructed upon that principle, as is 
proved by the illustrations to each of 
those words ; and it has been ascer- 
***** 

***** 
***** 



tained by actual experiment that a 
fifth tier superimposed in the same 
manner would not be too high above 
the water's edge for the blade to dip 
into the water without requiring the 
oar to be of an unmanageable length ; 
though beyond that number such an 
arrangement is found practically im- 
possible, because the handle would 
be hoisted above the rowers reach, 
from the great obliquity given to the 
oar by the height of the fulcrum on 
which it would be poised ; or, if the 
j oar were lengthened sufficiently to 
i meet the water at a working angle, 
; the handle would become so long that 
; it could not be contained within the 
I vessel. 

I QUINQUER'TIO {n^raQXus). 

One who practises the games of the 
I quinquertium. Liv. Andron. ap. Fest. 
s. v. 

QUINQUER'TIUM {^vrae\ov). 
An athletic contest of Greek origin 
j (Festus, s. v.) consisting of five feats 
I {quinque artium), viz. ; leaping {sal- 
1 his, aX/aa), running {cursus, Spo/xos), 
wrestling {lucta, irdXr]), throwing the 
j quoit [discus, S'lctkos), and boxing 
j {pugi lotus, irvyfxT]), for which last 
I throwing the javelin {jaculatio, clkov- 
Ttais) was afterwards substituted ; 
but to gain the prize it was neces- 
sary to achieve a victory in all the 
! five. 



R. 

RA'DIUS (p-d&dos). A pointed rod 
! or wand, employed by professors of 
' geometry, astronomy, or mathe- 
! matics, for describing diagrams in 
j sand, &c. (Cic. Tusc. v. 23. Virg. 



***** 
***** 




Eel. hi. 40.), as exhibited by the 
annexed figure, representing the Muse 
Urania, from a Pompeian painting. 
2 M 



546 RADULA. 



RASTER. 




2. (aKTLs). A ray of light ; usually 
represented by artists as a sharp 
pointed spike ; whence 
corona radiis distincta 
(Flor. iv. 2. 91.), a 
crown ornamented 
with metal spikes to 
imitate the rays of the 
sun, as in the an- 
nexed example, repre- 
senting the head of 
Augustus, on an en- 
graved gem. 

3. (o/ct£?, Kvr\^r\). The spoke of a 
whee2 (Virg. Georg. ii. 444. Ov. 
Met. ii. 318.) ; so termed because 
they radiate from the nave, like rays 
of light from a centre ; hence ro- 
ta radiata (Varro, 
R.R. iii. 5. 15), a 
wheel with spokes 
as contradistin- 
guished from the 
solid wheel (tym- 
panum) which had 
none. The latter 
of the two Greek words bracketed 
above, kvti/at], means literally the shin- 
bone, and thus suggests a different 
image for the same object, which is 
also exemplified by the form of the 
spokes in the annexed illustration, re- 
presenting an original wheel of ancient 
workmanship now preserved in the 
gallery of antiquities at Vienna. 

4. A sharp pointed stake or pali- 
sade for making a vallum. Liv. 
xxxv. 3. 

5. {cnradr}, Kepxis). An instrument 
used by the ancient weavers in their 
upright looms (Virg. /En. ix, 4~6. 
Ov. Met. iv. 275. vi. 56. Lueret. v. 
1352.); which, reasoning from ana- 
logy, and the other senses of the word, 
we may infer to have been the same 
as the long reed now employed by the 
Hindoos, serving both the purposes of 
a shuttle and batten. It is formed like 
a large netting needle, rather longer 
than the breadth of the web, into which 
it introduces the threads of the weft, 
and is likewise used to condense them. 

RA'DULA, A scraper ; an iron 




instrument for scraping or paring off 
extraneous matter, such as an old 
coat of paint or pitch from another 
surface. Columell. xii. 18. 5. 

RAL'LUM. Contracted for 
radulwn. A scraper in the form of a 



spud, which a ploughman put on to 
the butt end of his goad {stimulus), 
and used for scraping off the earth 
from the ploughshare. Plin. H. N. 
xviii. 49. § 2. The annexed example 
is copied from an Etruscan bronze, in 
which it is carried by a rustic en- 
gaged at the plough. 

RASTEL'LUS. Diminutive of 
Raster ; especially in the sense of 
a wooden rake for smoothing over the 
ground after seed had been sown 
(Columell. ii. 12. 6. ) ; or for raking 
up hay, straw, &c. , in the hay or corn 
field. Varro, R. R. i. 49. 1. Id. L. L. 
v. 136. 

RASTER, RAS'TRUSand-UM. 
An agricultural implement of a mixed 
character, between our fork, rake, and 
hoe, both as regards the form of the 
object and the manner in which it 
was used. It resembled the fork and 
rake, in so far that the head, which 
was made of iron (Cato, R. R. x. 3. 
xi. 4.), but very heavy (Virg. Georg. 




i. 164.), contained two, three, or 
sometimes four prongs {quadridens, 
Cato, //. cc), set at intervals apart 
(Isidor. Orig. xx. 14. 6., a raritate 
dentium), and arranged, like the rake, 
transversely across the handle at 
right angles with it, not in direct 
continuation, like the common fork : 



RASTER. 



RA TIS. 



547 



but the ordinary method of using it 
resembled that of a man hoeing with 
energy, it being raised up from the 
earth at each stroke (Senec. Ira, ii. 
5.) and then driven down forcibly 
upon or into it (Celsus, ap. Non.-j. v. 
p. 222.). Thus it was employed in 
digging and clearing the surface of 
ti e soil (Varro, L. L. v. 136. Virg. 
Georg. iii. 534.); for subduing or 
working the land, instead of plough- 
ing (Id. 'sEn. ix. 608.), and more 
especially for chopping down and 
breaking into smaller particles any 
large clods of earth left by the 
plough, before harrowing, or as a 
substitute for it (Plin. H. N. xviii. 
49- § 3- Virg. Georg. i. 94.). The 
figure in the wood-cut, which is 
copied from a very ancient MS. of 
Terence in the Vatican Library, pos- 
sesses all the qualities described ; and 
though undoubtedly an imperfect por- 
traiture, will enable the reader to 
form an accurate notion of the real 
character of the instrument. It forms 
the headpiece of the first scene of the 
first act in the Heaittontim., being 
carried on the shoulders of Mene- 
demus, and is evidently intended for 
an agricultural instrument of the name 
and nature described, from the dia- 
logue it illustrates. — Chremes. Istos 
rastros interea lamen adpone, nelabora. 
Menedem. Minime, &c. ; and by the j 
accessories of a sheaf of wheat, and a j 
yoke for plough oxen, which accom- i 
pany the original design. At the ! 
same time it exemplifies the difference j 
between the raster and the ligo, an 
instrument of otherwise similar cha- 
racter and use, but which, instead of 
having its head formed by two or 
more distinct prongs, like a rake, or 
being, as this is, and as Columella ex- 
presses it, a "two-horned tool" {In- 
come ferritin, Columell. x. 148.), had 
a continuous blade like the hoe, but 1 
notched at its edge, or, in the lan- 
guage of the same author (x. 88. ), 
broken up into teeth — fracti dente 
ligonis — as shown by the illustration 
s. Ligo. The term, moreover, is 



mostly applied in the plural number, 
because the head was composed of 
several parts or prongs, instead of a 
single blade. 

2. Raster ligneus. A wooden rake 
(Columell. ii. 1 1. 27. ) ; for which the 
diminutive Rastellus is more com- 
mon. 

RA'SUS (£e<7To's). Close shaved 
with a razor ; both with respect to 
the beard and hair of the head (Cic. 
Rose. Com. 7. Aul. Gel. iii. 4. : 
and woodcut j-. Liniger) ; as opposed 
to tonsus, which means clipped or cut 
short with scissors. 

R A T A' R I A. Enumerated by 
Aulus Gellius amongst the different 
kinds of boats and ships of which he 
gives a list (x. 25), but without any 
indication of its characteristic quali- 
ties. Servius {ad Virg. ALn. i. 43.) 
describes it merely as a small ship 
propelled by oars — navicula cum 
rem is ; Isidorus {Orig. xix. I. 9.) 
seems to imply that it was roughly 
built, and flat-bottomed, like a raft. 

RATIS (cr^eS/a). Kraft; formed 
by joining together a number of 
planks or spars to make a float, as 
shown by the annexed example, from 
a mosaic in the ceiling of an ancient 




temple of Bacchus, now the church of 
Santa Constantia, near Rome. Plin. 
H. N. vii. 57. Coel. ap. Quint, vi. 
3. 41. Cic. Att. ix. Isidor. Orig. 
xix. 1. 9. Hence scirpea ititis (Plaut. 
Aid. iv. 1. 9.), a float made of rushes 
1 used to support beginners when learn- 
ing to swim, in the same manner as 
tablets of cork, which are mentioned 
by Hor. Sal. i. 4. 120. 

2. {■nXolov kovtwtov). A fat-bot- 
tomed boat, pushed on by a pole, as in 



548 



RECHAMUS. 



REGULA. 



the anrexed example, from the very 
ancient mosaic pavement of Prasneste, 
instead of being rowed with oars. 
It constitutes, in fact, the first step in 
naval architecture from the simple raft 




to the regular vessel. Virg. Georg. 
ii. 445. Flor. iv. 2. 32. Diodor. xix. 
Bayfius, Re Nav. 

3. By the poets used indiscrimi- 
nately for a boat or ship of any kind. 

4. A pontoon, or bridge of boats 
for passing over from one side of a 
river to the other : formed by fixing 
the requisite number of boats in the 




centre of the stream to serve as piers 
for supporting a footway of planks 
laid athwart them from one side of 
the river to its opposite bank ; whence 
the expression of Livy, rate jungere 
fiumen. The example is from the 
column of Antoninus. 

RECH'AMUS (Vitruv. x. 2. 1.). 
Same as Trochlea. 

RECINC'TUS (Virg. /En. iv. 
518.). Equivalent to Discinctus. 

RECI'NIUM. See Ricinium. 

RECTA {bpQoaTcfi'ias). A tunic, 
woven in one piece 
all round, like our 
stockings ; which 
fitted into the 
waist, and took 
the form of the 
figure, without re- 
quiring any girdle 
to keep it adjusted 
to the person, as 
was necessary with 
the common tunic, 
which was made of 



equal width from top to bottom. It 

consequently hung down in straight 
or direct folds from the neck to the 
feet, as exhibited by the annexed 
figure of Ceres, which peculiarity 
gave rise to the name, both in the 
Latin and Greek language. Plin. 
H. N. viii. 74. Festus, s. v. Isidor. 
Orig. xix. 22. 18. Pollux vii. 48. 

REDEMP'TOR {epyoK&pos). A 
contractor; like our own term, ol 
general application for one who un- 
dertakes to perform any description 
of work, such as the building or 
repairing of a house, &c, for a stipu- 
lated amount. Cic. Div. ii. 21. Plin. 
H. A T . xxxvi. 55. Liv. Hor. 
I REDIMI'CULUM. Along 
\ lappet, or fillet attached to the mitra 
I (Isidor. Orig. xix. 31. 5. Virg. 
ix. 616), or any other head dress of 
similar character, for the purpose of 





fastening it under the chin (wood- 
cuts s. MlTRA, p. 426. ), but the whole 
of which, when loose, would hang 
down over the shoulders and breast 
(Ov. Met. x. 265.), as shown by the 
annexed figure of Paris, from one of 
the Pompeian paintings. 

RE'GULA {kclvwv). A straight 
rule, used by carpenters, masons, 
artificers, and people in general, for 
drawing lines, or taking measure- 
ments "(Vitruv. v. 3. Cic. ap. Non. 
s. Perpendiculum, p. 162.). The 
example represents an original bronze 
rule, found in a mason's shop at 



REMEX. 



549 



Pompeii, which is divided into gra- 
duated parts, and made to shut up in 
half, by means of a hinge, similar to 
those now in use ; but is moreover 
furnished with a stay at the back, 
indented by two notches, which slip 
under the heads of two small pins, 
and thus prevents the two halves 
from closing or yielding from the 
straight line whilst in use. 

2. In a more general sense any 
long straight lath, or thin bar of wood 
or metal, for whatever purpose ap- 
plied : and specially in the plural, the 
laths, within which the pulp of olives 
(samsa), or the husks of grapes {pes 
vinaceorum) were included, when 
placed under the press beam {prelum) 
to keep the entire mass under the 
action of the beam, and prevent the 
sides from bulging out beyond the 
centre where the force was applied. 
Columell. xii. 52. 10. See the illus- 
tration s. Torcular, I. which ex- 
hibits a basket {piscina) employed, as 
.was frequently the case (Id. xii. 39. 3. ). 
instead of laths, for the same purpose. 

RE'MEX {iperrfs, Kwirr]\drris). A 
roiver or oarsman who rows in a boat, 
galley, or ship. In vessels of war the 
rowers {remiges) formed a distinct 
class from the sailors {nautce) who 
managed the sails and navigation of 
the vessel ; and from the marines 
{classiarii), or troops to whom its 
defence was committed ; but the 
three together, the soldiers, seamen, 
and rowers, completed the manning 
of the vessel. Cic. Verr. ii. 5. 33. 
Id. ii. 4. 34. Caes. B. C. iii. 24. 

In boats and small craft the 
ancients used their oars in most of 
the different ways still practised ; a 
single man sometimes plying a pair 
of sculls (woodcut s. BlREMIS, 1.) 
when the boat was very small ; or, in 
those of a larger size, handling only 
a single oar, and then either sitting 
and pulling towards himself, as we 
do, or standing up and pushing from 
himself, as is still the more common 
practice in the Mediterranean (wood- 
cut S. ACTUARIOLUM. ). 



In sea-going vessels of a large size 
furnished with a single line of oars, 
such as the naves longcz, liburnicce, 
and others belonging to the class of 
moneres, which were equipped with 
oars of great weight and length, it is 
almost certain that more than one 
man pulled at the same oar, and sat 
on the same bench, as was the prac- 
tice adopted in the galleys of the 
Venetians, Genoese, and French of 
Marseilles, during the 15th, 1 6th, and 
17th centuries, a method which is 
thus described in the memoirs of Jean 
Marteihle, a French protestant, con- 
demned to the galleys in 1 701. "The 
rowers sit upon benches " (the transtra 
of the Romans), " six men to an oar; 
one foot rests upon a low stool or 
stretcher, the other is raised and 
placed against the bench before them. 
They lean their bcdies forward " (the 
remis incumbunt of Virgil, compare 
Polyb. i. 21. 5.), "and stretchout 
their arms over the backs of those 
before them, who are also in a simi- 
lar attitude. Having thus advanced 
the oar, they raise themselves and the 
end of the oar which they hold in 
their hands " {remis pariter insnrgunt, 
Virg. ), ' ' and plunge the opposite one 
into the sea ; which done, they throw 
themselves back upon their benches, 
which bend beneath the pressure." 

In vessels which were furnished 
with more than one bank {ordo) of 
oars, such as the bij'emis, triremis, &c, 
the system of rowing was conducted 
upon a different plan. In these the 
rowers sat upon separate seats {sedilia) 
instead of cross benches {transtra), 
and each oar was pulled by a single 
man, the highest one from the water 
being of course the longest, and the 
labour of the man who worked it 
the most severe. But when vessels 
of very great size were constructed, 
such, for instance, as the hexeris, 
hepteris, decemremis, Sec, even though 
they could not have more than five 
oars in an ascending line from the 
water's edge to the bulwarks, as ex- 
plained in the article Ordo, yet it is 



55° 



REMIGIUM. 



REPAGULA . 



clear that the length and weight of 
the oar must have borne a certain 
proportion to the width and length of 
the ship ; and in such cases it is but 
reasonable to infer that both the 
methods of rowing hitherto described 
were united ; the lower and smaller 
oars being managed each by a single 
man, the upper and larger ones by as 
many more than one as their size re- 
quired. Thus when mention is made 
in the ancient authors of the oarage 
not being fully manned, it is not 
thereby implied that any of the oars 
are wanting, which could scarcely 
be, but that the proper strength or 
number of hands, required for their 
effective management, was not put 
UDon some of them. 

REMIG'IUM. The oars or oar- 
age of a vessel, in a collective sense ; 
also, like the Greek etpeTta and to 
£p*Tu<6v, for remiges, a crew of rowers. 
Virg. Hor. Plin. &c. 

REMUL'CUM or -US (pv(ia). A 
tow-rope, by which one vessel is drawn 
after another. Isodor. Orig. xix. 4. 8. 
Hirt. B. Alex. 11. Li v. xxxii. 16. 

RE'MUS (iperpls, Kcinri). An oar. 
The small oars and sculls, when 
managed by a single man, differed in 
no respect from those in modern use, 
as may be seen from numerous speci- 
mens inserted in these pages ; but 
the larger kinds, which sometimes 
extended to the length of 54 feet, 
and consequently required several 
men to one oar, must have been too 
thick at the handle for the hand to 
grasp ; whence it may be confidently 
assumed, that they were constructed 
in the same manner as those used in 
the Mediterranean galleys of the 16th 
and 17th centuries, which were from 
45 to 50 feet in length, each one 
requiring six rowers, who managed 
it by the assistance of a false handle 
or rail, affixed to the main butt, as 
shown by the annexed woodcut, re- 
presenting the part inboard of one of 
the oars described. The fiat piece, 



just beyond the handle, is distinct 
from the oar itself; but is fastened to 
it, as a guard, to prevent the con- 
sumption of the oar by rubbing 
against the side of the vessel, and 
easily renewable when itself worn out. 

RE'NO or RHE'XO. A very 
short cloak {pai'vis rhenonum tegu- 
mentis. Caes. B. G. vi. 21.) which 
only covered the shoulders and breast 
as far as the loins and abdomen (Isi- 
dor. Orig. xix. 23. 4.), forming an 
article of clothing, especially charac- 
teristic of the Germans (Sallust. 
Fragm. Incert. 13. ed. Gerlach. ), and 
of the Gauls (Varro, L. L. v. 167.). 
It was made out of the rough skin of 
the reindeer, still called Ren in 
Swedish, and is frequently seen on 




the German figures of the column of 
Antoninus (see the illustrations s. 
Framea and Supplex) ; but is also 
worn by some of the soldiers in the 
imperial army on the column of Tra- 
jan, two of whom, affording a front 
and back view, have been selected 
for the illustration, because they 
show the peculiar form and dimen- 
sions of the object more distinctly. 

REPA'GULA. 
the contrivances 
adopted by the 
ancients as a door 
fastening (Cic. 
Div. i. 34), the 
precise nature of 
which must at this 
day e be collected 
from inferential 
reasoning, rather 
than positive tes- 
timony. As the 
word only occurs 
in the plural, we may conclude that 




REPL UMi 



REPOSITORIUM. 



551 



the device consisted of a double fast- f 
ening, and not a single one ; while the 
expression of Plautus [Cist. iii. 18.), \ 
occhidite pessulis, repagulis, leads to [ 
the conjecture that it consisted of a 
pair of bolts ( pessuli), made of wood | 
and fastened on the leaves of a fold- | 
ing door (Plin. H. N. xvi. 82.), but 
made to shoot against one another 
from opposite sides, which seems to 
be the true meaning of the definition 
given by Verrius, [ap. Fest. s. v.) re- 
pagula, qicce patefaciiindi gratia ita 
figuntiir, tit e contrario oppanguntur. 
The annexed illustration, representing 
an Egyptian door, from a painting at 
Thebes, which shows the two bolts ! 
affixed to separate valves, and shoot- 
ing from opposite sides against each j 
other, confirms this account so far 
as to encourage the belief that it 
really exhibits the contrivance in 
question. Indeed it is from the 
Egyptians that both Greeks and 
Romans appear to have derived the 
models for most of their locks, keys, 
and fastenings in general. 

REPLUM. (Vitruv. iv. 6. 5.) 
An upright rail fixed in the centre of 
the frame of a doorcase, and stretch- 
ing from the lintel to the sill, in 
order to serve the purpose of a rebate, I 
and guard the crevice formed by the 
juncture of the two valves, as shown 
by the annexed example, represent- 
ing an ancient bronze door in its 
original state, which formerly be- 
longed to the temple of Remus, now 
converted into the church of S. 
Cosmo and Damiano, at Rome. The 
ground-plan at the bottom, where it 
appears in the centre, exhibits the 
manner in which the rebate closed 
over the juncture ; and the elevation 
shows one leaf of the door closed 
against it ; if both valves were open, 
it will be readily perceived that it 
would remain, like an isolated up- 
right, in the centre of the entire i 
opening. The interpretation here 
given cannot, however, be accepted as 
certain, for the precise meaning of 
the word is much controverted, and | 



there are no authorities to establish 
a decision beyond the bare mention 




of the term in the one passage of 
Vitruvius above cited. 

REPOSITO'RIUM. A piece of 
furniture employed by the Romans 
for bringing up to table the various 
dishes comprised in a course (Plin. 
H. N. xviii. 90.), and which was 
placed with its contents upon a table 
in the dining-room (Pet. Sat. lx. 4.). 
It consisted of a large covered box or 
case (whence theca repositorii. Pet. 
Sat. xxxix. 3), either round or 
square, and sometimes made of choice 
woods inlaid with tortoise-shell, and 
enriched by ornaments of silver (Fe- 
nestella ap. Plin. H. N. xxxiii. 52. 
Pet. Sat. xxxv. 2.). The whole case 
was moreover divided into a number 
of stories, one above the other, 
each of which held a separate tray 
{ferculnm) furnished with dishes 
like the dinner baskets in which a 
French or Italian restaurateur sends 
out a ready-dressed dinner to his 
customers. This is clear from Pe- 



552 REPOTIA. 



RETIARIUS. 



tronius {Sat. xxxvi. I. and 2. Com- 
pare xxxv. i. and 2.), where a re- 
positorium is placed upon the table, 
and after the first division has been 
removed, another tray containing a 
different course of entrees is exposed 
to view — superiorem partem reposi- 
torii abstulerunt. Quo facto, videmus 
infra, scilicet in altero, ferculo, altilia, 
&c. — which passage distinctly points 
out the difference between a reposi- 
torium and a ferculum, and proves 
the inaccuracy of those scholars who 
make the two words synonymous. 

REPOTIA. A carousal or drink- 
ing bout after a banquet (Apul. Apol. 
p. 501. Id. de Mtcnd. p. 750.); 
whence, in a more special sense, the 
entertainment given by a bridegroom 
to his friends the day after his wed- 
ding. Festus s. v. Hor. Sat. ii. 2. 60. 

RESTIA'RIUS [axoivonXoKos, 
KaXwarpocpos). A rope maker. In- 
script. Vet. a Jo. Cam. Rossi edita. 

RES'TIO {crxoivoirwhris). A dealer 
in ropes and cords. Front, ap. 
Putsch, p. 2201. vSuet. Aug. 2. 

RE'TE and RE'TIS [Uktuov). A 
net ; in the same general sense as is 
conveyed by our own word ; including 
both fishing and hunting nets, and, in 
consequence, all the different kinds 
which are enumerated in the Classed 
Index. (Cic. Plaut. Virg. &c.) But 




sportsmen made use of the term in a 
more special or technical sense, to 



distinguish the large net or haye 
{longo meantia retia tractu. Nemys. 
Cyneg. 300.), with which they used to 
surround a wide tract of country, be- 
fore the operation of beating the covers 
commenced, in order to prevent the 
game from dispersing through the 
open country, and to form an enclosed 
circle towards which they might be 
driven, when dislodged by the dogs 
from the shelter of their thickets. 
Both the object itself, the manner of 
j setting it, and the purpose for which 
J it was used, may be readily imagined 
j from the annexed illustration, copied 
I from a fresco-painting in the sepul- 
j chre of the Nasonian family, near 
Rome, which also contains several 
other pictures illustrative of hunting 
scenes. 

RETIA'RIUS. A Roman gladi- 
! ator, so named from the net (rete) 
which formed his characteristic im- 
1 plement of attack. Besides this, he 
' was equipped with a heavy three- 
pronged fork {fuscina, tridens), but 
I had no body armour; and his art 
j consisted in casting the net over the 
I head of the adversary, generally a 
j Secutor, with whom he was matched. 
! If he succeeded in the throw, so as to 
hamper his opponent, who was fully 
j armed, in the toils of his net, he ad- 
| vanced to close quarters, and attacked 




him with the trident, as exhibited by 
the illustration from an ancient 
mosaic ; but if he failed, having no 
defensive armour, he immediately 
I took to flight, and endeavoured to 
I collect his net for a second cast before 
he could be overtaken by his adver- 



RETICULA TVS. 



RET I I'M. 



553 



sary, who pursued him round the 
arena. Suet. Col. 30. Claud. 34. 
Juv. ii. 143. via. 203. 

RETICULA'TUS. Literally, 
that which is formed like a net, or in 
a pattern like net-work. 

I. Reticulata sti~uctura. Reticu- 
laiiim opus. A method of constructing 
walls very common in Italy during 
the later days of the republican and 
early part of the imperial period, the 









=1 




1 








! r ... E^i_ <v~,^c r^x f~ ^. TV. ; II 



external appearance of which pre- 
sented a reticulated pattern, like the 
meshes of a net, as shown by the 
division marked A in the annexed 
wood-cut, which exhibits at a view 
the different constructive arrange- 
ments adopted by the Roman builders. 
The one in question was formed by 
small stones, or by blocks of tufo, cut 
into a die, which, instead of being 
laid on their sides, were placed upon 
the sharp edge, so as to fit into one 
another like wedges. This method 
of construction, though extremely 
pleasing to the eye, has the great de- 
fect of wanting durability, in conse- 
quence of the tendency which such 
walls have to settle into cracks. Vi- 
truv. ii. 8. 1. Plin. H. N, xxxvi. 51. 

2. Retiadata fenestra. A lattice, 
i. e. a window protected by small 
bars of wood or metal, crossing each 
other in a reticulated pattern. Varro, 
R. R. hi. 7. 3. 

RETICULUM (SiktHiov). Dimi- 
nutive of Rete ; a small net, or a net 
made with small meshes (Varro, R. R. 
iii. 5. 13.); whence the following 
specific senses : — 

I. A bag of network, the original 



of our reticide, employed for holding 
various articles :— bread (Hor. Sat. 
i. 1. 47.) ; playing balls (Ov. A. Am. 
iii. 361.); dried rose leaves, or other 
aromatic productions, which were 
thus carried in the hand, for the same 
purpose as the modern scent bottle. 
Cic. Very, ii 5. 11. 

2. (KtKpvcpaAos). A cap for the 
hair, made of net-work, and properly 
belonging to the female attire (Varro, 
L- L. v. 130.), 
though the same ^vV^^ 
was sometimes WggsS^^jgL 
adopted by the Ji T 
male sex (Lam- 
prid. Heliog. II. $k «• 
Juv. ii. 96.), a 5 
is still the case 
in modern Italy, 
where it is worn 

by the women of Albano, and by the 
men of Sonnino. The example is 
from a painting at Pompeii. 

RETINACULUM (ctx<hjw 
yeiov). In nautical language, a hawser, 
thrown out from the stern of a 
vessel (Ov. Met. xv. 696.), by 
which it was made fast to the shore 
(lb. xiv. 547.), as contradistinguished 
from the cable (ancorale) at the bow. 

2. A taw-rope, by which animals 
draw a vessel from the shore (.Hor. 
Sat. i. 5. 18.), as "contradistihct from 
remulcus, by which one vessel was 
towed behind another. 

3. Long traces for wagons to which 
several pairs of oxen are attached, 
sometimes extending to the length of 
26 feet. Cato, R. R. 63. and 135. 

4. Any kind of long rope or thong 
which serves to retain or restrain ; as 
a tether, or a halter for cattle (Colu- 
mell. vi. 2. 4. Cafistrum ) ; the 
reins of a chariot. Virg. Georg. i. 
513. Habexa. 

RETIOLUM. Diminutive of 
Rete (Apul. Met. viii. p. 155.); 
same as Reticulum, 2. Augustin. 
Ep. 109. n. 10. 

RE'TIS. See Rete. 

RE'TIUM. Same as Rete. 
Glos. Phvlox. : and Schol. VeL ad 



554 



RHEDA. 



RHYPAROGRAPHUS. 



Juv. viii. 207., where it is applied to 
the net of the Retiarius. 

RHE'DA. A large and roomy 
carriage upon four wheels (Isidor. 
Orig. xx. 12.), and furnished with 
several seats, so as to be adapted for 
the transport of a large party, with 
their luggage and necessaries (Juv. 
in. 10. Mart. iii. 47. 5.). It appears 
to have been in very general use 
amongst the Romans, both for town 
and country (Cic. Mil. 20. Id. Alt. 
vi. I. Ib. v. 17. Suet. Jul. 57.); 
and probably resembled the French 
char-a-banc with a cover overhead, 
for the carriage itself, as well as its 
name, was of Gallic original (Quint, 
i. 5. 68.). The annexed illustration is 




not copied from any ancient au- 
thority, nor is it altogether imaginary, 
being composed by Ginzrot ( Wagen 
und Fahrwerke, tab. 20. ), after the 
models of several very similar 
carriages which appear on the co- 
lumns of Trajan and Antoninus ; but 
is here introduced in order to con- 
vey a proximate notion of the general 
character of the conveyance in 
question, which, though not altogether 
genuine, will still serve as a useful 
illustration to the various passages 
above referred to. 

RHEDA'RIUS. The coachman, I 
or person who drives a Rheda. Cic. | 
Mil. 10. 

2. A tradesman who makes these 
carriages. Capitol. Max. et Balb. 5. , 



RHOM'BUS [pSn&os). Originally 
signified the spindle (fusics) with 
I which women spun their thread 
(Schol. ad Apoll. Argon, i. 1 139. ); a 
I vertical section of which, when cover- 
ed with thread, would exhibit the 
figure termed a rhomboid by mathe- 
i maticians, as will be seen by the 
centre figure in the illustration s. 
Fusus. This meaning subsequently 
obtained, to the complete exclusion 
! of the primary notion ; though a very 
j distinct allusion to that is contained 
i in one of the common applications of 
the word both by the Greek and 
Latin writers, who make use of it to 
designate a sort of reel or whorl em- 
ployed in enchantment. Ov. Am. i. 
8. 7. Prop. iii. 6. 26. 

RHOMP^'A, ROMPH^'A, and 
RUM'PIA {bo/xcpaia). A military 
weapon peculiar to the Thracians 
(Aul. Gell. x. 25.); but whether be- 
longing to the class of swords or of 
spears is a matter of doubt, though 
the latter seems the more probable. 
At all events, it was characterized by 
prodigious length (Liv. xxxi. 29.) ; 
and by having, like the Roman///«w, 
a wooden shaft of the same dimen- 
sions as the iron head affixed to it. 
Val. Flacc. vi. 98. 

RHYPAROG'RAPHUS {'pvirapo- 
ypdcpos). A painter of low, coarse, 
and trivial subjects, amongst which 
are enumerated scenes of ordinary 
life, interiors of barbers' shops, 
coblers' stalls, animals, and objects of 
still life (Plin. H. N. xxxv. 37.), such 
as those for which the Dutch and 
Flemish schools have become cele- 
brated. It is evident from the adjec- 
tive which gives the governing sense 
to the term {pvirapos, foul, dirty), that 
works of this description were held 
in low estimation by the talented and 
accomplished people of Greece; but 
the coarser-minded and more ma- 
terial Romans, whose love of art, and 
taste, were far less pure, being 
acquired or affected, not innate, set 
the highest value upon them, and 
bought them at prices oftentimes ex- 



RHYTIUM. 



RISC US. 



555 




ceeding what they paid for the great 
works of the best masters. Plin. /. c. 

RHYT'IUM {rb pvTov). Properly, 
the Greek name for a drinking-horn 
(Mart. ii. 35. 2.), out of which the 
liquor was allowed to flow (whence 
the name, pin 6s, running, flowing) 
through an ori- 
fice in the point 
at bottom, into 
the mouth of the 
drinker, as ex- 
hibited by the 
annexed example 
from a Pompeian 
painting. It is here shown in its 
simplest form of a mere horn ; but 
vessels of the same character were 
made in many ornamental devices, 
especially imitating the heads of dif- 
ferent animals, in which the narrow 
extremity formed by the nose and 
lips makes a point for the liquor to 
flow from. Several such have been 
discovered in the excavations of 
Pompeii and Herculaneum, and are 
engraved in the Museo Borbonico (v. 
20. viii. 14.). 

RI'CA. A square sheet of woollen 
cloth with a fringe round its edges 
{vestimentum qua- 
dratum, fimbria- 
tum. Verrius, 
ap. Fest. s. v.), 
worn as a veil 
over the head by 
females, when 
performing sa- 
crifice more es- 
pecially (Varro, 
L. L. v. 130.), 
but also "upon 
other occasions 
(Plaut. Epid. ii. 
2. 50. Aul. Gell. vi. 
German, in Arat. 121.). 
form and character of 
of drapery are plainly discernible on 
the annexed figure, representing a 
priestess of Isis, from a statue of the 
Chiaramonte collection in the Vatican. 

RICI'NIUM, RECPNIUM, RI- 
CPNUS, or RECI'NUS. Diminu- 





piece 



tive form of Rica. A small square 
sheet of woollen cloth ( palliolum 
breve, Non. s. v. p. 542.), doubled in 
two (Varro, L. L. v. 132.), and worn 
over the head (Isidor. Orig. xix. 25.) 
as a veil ; more especially assumed 
as a mourning costume by females 
(Varro, de Vit. 
Pop. Rom. ap. 
Non. /. c. 
Fragm. xii. 
tab. ap. Cic. 
Leg. ii. 23. ). 
The example 
is copied from 
one of four 
figures in a 
fresco painting 
which deco- 
rated one side 
of a chamber 
in the Thermae 
of Titus, in which the celebrated 
group of Laocoon was found, and is 
I supposed to represent Veturia, the 
J mother of Coriolanus, when she went 
j out as a suppliant and in mourning, 
I to dissuade her son, who forms a 
prominent object in the picture, from 
advancing against his native city. 
But even if this explanation of the 
subject be not the true one, it is still 
apparent from the attitudes and de- 
meanour of the two females in the 
design, that they are represented in 
the character of suppliants, and con- 
sequently attired in the habiliments of 
grief; which alone would be sufficient 
to connect the " very peculiar piece of 
drapery on the headand shoulders with 
the name and object above described. 

RPCULA. Diminutive of Rica. 
A veil worn by young women over 
the head. Turpil. ap. Non. s. Rica, 
p. 539. Isidor. Orig. xix. 31. 5. 

RIS'CVS (pianos). A ward-robe. 
more especially for female apparel 
(Terent. Eun. iv. 6. 15. Ulp. Dig. 
34. 2. 26. Pollux, vii. 79.). The 
word appears to have been generally 
applied to any kind of receptacle 
adapted for the purpose mentioned, 
as it is severally explained to be a 



556 ROBORARIUM. 



RORARII. 



wicker basket covered with leather j 
(Donat. ad Terent. 1. c.) ; a large | 
chest { Gloss. Philox. ) ; and a closet I 
let into the wall. Non. s. v. p. 165. 

ROBORA'RIUM. A place en- 
closed with wooden palings, more 
particularly of oak. Scip. Afric. ap. \ 
Gell. ii. 20. 

RO'BUR. The underground 
dungeon in a goal [career) in which 
the sentence of capital punishment 
was carried into execution ; whence | 
the expression, digmimcarcere etrobore \ 
(Apul. Apol. p. 530.), deserving im- | 
prisonment and death. Festus, s. v. | 
Liv. xxxviii. 59. compared with ' 
xxxiv. 44. where it is termed career \ 
inferior. Lucan, ii. 125. It is shown 
by the circular chamber in the an- 




nexed illustration, which represents a 
section of the state prisons, con- 
structed by Ancus Martius and Ser- 
vius Tullius, now existing at Rome, 
and the identical one to which the 
passages of Livy, above quoted, refer. 

ROGATO'RES. Officers ap- 
pointed to act at the Roman Comitia, 
whose duty it 
was to stand 
at the nearest 
end of the 
bridge {pons 
su ffragiorum ) , 
which each 
citizen as- 
cended in order to record his vote upon 




coming out from the inclosure {ovile) 
in which he had been previously mus- 
tered with the other members of his 
century ; and to present a balloting 
token (labella) to everyone of them in 
turn, by whom it was taken and 
thrown into the box (cista) placed at 
the opposite extremity of the bridge. 
The illustration, from a coin, explains 
the entire process, showing at bottom 
the railing which enclosed the ovile, a 
voter ascending the bridge and re- 
ceiving his ballot from the rogator. 
whilst another one at the opposite 
end is engaged in depositing his in 
the box. The term, however, origi- 
nated before the practice of secret 
voting had obtained, when the poll 
clerk had only to ask [rogare) the 
citizens how they intended to vote, 
and to register the result upon a 
waxed tablet containing a list of the 
candidates, by making a mark or 
point [piwctum) against the name of 
each one as a suffrage was recorded 
in his favour. Cic. N. D. ii. 4. Id. 
Div. ii. 35. Ib. i. 17. Id. in Sen. 1 1. 
Id. Pis. 1$. 

ROGUS (irvpd) 
whilst in process 
composed of 
rough logs 
of wood, not 
cut into shape 
(xii. tab. 
ap. Cic. Leg. 
ii. 23.), but 
piled up into 
a square mass, on the top of which a 
corpse was reduced to ashes (Virg. 
SEn. xi. 189.). It was strictly 
termed fyra before the fire had been 
applied to it, and rogus when burning 
(Serv. ad Virg. /. c), as in the ex- 
ample annexed, representing the pile 
on which the body of Patroclus is 
consumed, in the bas-relief known as 
the Tabula Lliaca, on which the 
various events recorded in the Iliad 
are portraved. 

RORA'RII. A class of soldiers 
in the Roman armies, forming part of 
the levis armati/ra, or light-armed 



A funeral pile 
of combustion ; 




RORARIJ. 



ROSTRUM. 



557 




troops. They were drawn up in the 
third line behind the triarii, and in a 
position between them and the acccusi 
(Liv. viii. 8. Compare Plaut. Fragm. 
ap. Varro, L. L. vii. 58.) ; their 
duty being to rush forward, as op- 
portunities of- 
fered, and make 
desultory at- 
tacks upon the 
enemy's co- 
lumns, with 
showers of mis- 
siles discharged 
from amidst the 
ranks formed by 
the first and se- 
cond lines of the 
heavy legionary 
soldiers (Liv. viii. 9.). It is pro- 
bable enough that the term was 
derived from rores, drops of rain, as 
the grammarians say (Varro, /. c. 
Festus, s. v. Xon. s. z: p. 552. ) ; but 
it by no means follows therefrom, as 
they, and the modern lexicographers 
after them, have inferred, that the 
name was given to these troops be- 
cause they commenced the action by a 
shozuer of missiles, like the drops 
which precede a storm ; for that was 
the duty of the ferentc.rii, who, for that 
purpose, were conveniently posted 
upon the wings (Veg. Mil. i. 20.), 
whereas the rear ranks of the army, 
the post of the rorarii, would be a 
most unfit one for such a purpose. 
Rores are any drops of water which 
fall during a shower, as well as before 
it. The post, moreover, assigned them 
by Livy, immediately before the 
accensi, who constituted the lowest 
grade of the whole army, indicates 
sufficiently that they formed a dis- 
tinct class from them, as well as from 
the ferentarii, holding an intermediate 
position between both in regard to 
rank and accoutrements. The figure 
in the woodcut, from the column of 
Trajan, represents a soldier of the 
Imperial army fighting, as above 
mentioned, between two heavy-armed 
legionaries. Though his weapon is 



iiv)t seen, it is plain enough from the 
attitude that he is in the act of dis- 
charging a missile. Similar figures 
occur on two other parts of the co- 
lumn, with shields of the same cha- 
racter, and appointed in the same 
manner, naked to the waist, with short 
drawers {femoralia) and military 
boots (caligce) : in one instance stand- 
ing amongst a body of .troops of all 
arms, heavy and light, who are lis- 
tening to an harangue (allocutid) from 
the emperor ; and in the other one, 
on the field of battle, engaged 
amongst the heavy infantry, like the 
j one here selected. In early times no 
doubt a kilt (campestre) was worn 
; instead of drawers, which were not 
introduced until the Imperial age ; 
but that will not impair the genuine 
evidence of the other details, while 
the use of a missile and shield, in 
connexion with the defenceless state 
of the rest of the body, accords per- 
fectly with the rank which these men 
occupied, and the duties they had to 
perform, and shows a ground of dis- 
tinction between them and the 
ferentarii, who had no shield nor 
defensive arm whatever, and the 
accensi) who had not even an offen- 
sive weapon beyond what nature sup- 
plied them, their fists and stones. 

ROSTRA TUS. Formed in the 
shape of, or furnished with, a snout 
or beak (Rostrum) ; whence applied 
as a descriptive epithet to many 
different objects — to the bill-hook 
(Columell. ii. 21. 3. Rostrum, 3.) ; 
to the plough (Pirn. H. N. xviii. 48. 
Rostrum, 4. ) ; to a crown (Plin. 
H. N. xvi. 3. xxii. 4. Corona, 8.) ; 
to a ship (Hirt. B. Afr. 23. Ros- 
trum, I.) ; to a column (Suet. Galb. 
23. Columxa, 3.). 

ROS'TRUM (bvyxos). Literally, 
the snout of a beast, especially of 
i swine, and the bill of a bird ; whence 
the term is transferred to various 
artificial objects, resembling in form, 
I or in the uses to which they are ap- 
; plied, either of the natural organs 
above mentioned ; as : — 



558 



ROSTRUM. 



I. (efifioAos). The beak, as it is 
called by us, of a ship of war, made 
of bronze, or sometimes of iron, and 
intended to act against the timbers of 
an enemy's vessel, like the battering- 
ram against a wall (Liv. Hor. Hirt. 
Plin. &c). In early warfare it con- 
sisted of a single beam, shod at the 
end with a metal head, mostly repre- 
senting some animal, as exhibited by 
the annexed example, from an 
original, perhaps unique, which was 
found at the bottom of the port of 



struction adopted during the Punic 
war ; that on the right, with the 
original rostrum, in the form of a 
bird's head, above, and the improved 
and more formidable one underneath 
it, depressed below the bottom of the 
vessel, according to the construction 
employed in the age of Augustus. 
Scheffer, Mil. Nav. ii. 5. 

2. Rostra, plural (ot e^jSoAoi, Polyb. 
vi. 53. I.). The rostra; a name 
given to the tribune in the Roman 
forum, from which public men ad- 




Genoa, and is supposed to have been 
sunk there in the battle fought be- 
tween the Genoese and Mago the 
Carthaginian. It projected from 
the head of the vessel at a certain 
elevation above the keel and water's 
edge, in the manner shown by the 
woodcut at p. 442. But when the 
system of naval warfare was per- 
fected, it was formed by several pro- 
jecting beams, cased with sharp metal 
points, sometimes employed alone, 
and sometimes in addition to the one 
last described ; but either situated on 





the same level as the keel, or de- 
pressed below it, so that every frac- 
ture not only damaged the vessel, but 
made a fearful leak below the water. 
All these properties are exhibited by 
the annexed illustration, from two 
Roman medals, the one on the left 
showing the rostrum on the same line 
with the keel, according to the con- 



dressed the people, because it was 
ornamented with ships' beaks taken 
from the Antiates in the Latin 
war (Liv. viii. 14. Varro, L. L. 
v. 155. Cic. Caes., &c). The 
illustration, from a coin of the Lollian 
I gens (probably the M. Lollius Pali- 
I canus mentioned by Cicero. Verr. 
1 ii. 41.), though exceedingly defi- 
j cient in respect of accurate details, 
I will nevertheless enable us to con- 
j ceive a just notion of the form and 
I character which this celebrated 
i structure possessed. It is plainly 
I indicated by the sweeping direction 
of the lines drawn across the coin 
! that the building was a circular one, 
j with a parapet and a platform at the 
top on which an elevated stand was 
: placed, the whole being supported 
! upon arches, the piers of which were 
: ornamented with the beaks of the 
j vessels above mentioned. It must 
I have been ascended by a flight of 
! steps, and probably there was one on 
each side of it, so that the whole 
structure would resemble very closely 



ROSTRUM. 



ROTA, 



559 



the ambones or pulpits, still to be 
seen in several of the earliest Chris- 
tian churches at Rome. 

3. The crooked and pointed end of 
a vine-dresser's bill-hook {falx vini- 
loria), that is, the point which is 
turned uppermost in the annexed 
example, 
from an an- 
cient MS. 
of Colu- 
mella, and 
semblance 
birds of prey. Columell. iv. 25. 3. 

4. The curved 'end of the primitive 
Roman plough, used for light soils, 
formed from the limb of a tree, either 



anvil, from a bas-relief. Plin. H.N, 




which bears a close re- 
to the beak of certain 





lamp 
wick 



naturally or artificially bent into a 
crook, and when necessary, shod 
with iron at its extremity ; as is very 
clearly displayed in the annexed 
figure, from a small Etruscan bronze, 
found at Arezzo. Plin. H. N. xviii. 
48. 

5. The nozzle of an oil 
{lucerua), through which the 
projects, and 
which is usu- 
ally made with 
a curved line 
rising from the 

body of the =s> 
object, not unlike the beak of a bird, 
as exhibited by the annexed example 
from an original Roman lamp. Plin. 
H. N. xxviii. 46. 

6. The head of a smith's hammer 
or mallet {malleus) ; in which case 
the analogy is deduced from the ap- 
plication, not from the form, of the 
instrument ; because it is the part 
with which the shock is given, in 
allusion to the rostrum of a ship, as 
exemplified by the annexed illus- 
tration, representing smiths at the 



xxxiv. 41. 

ROTA, {rpoxos). A wheel ; made 
in the same form as now, and com- 
posed of the fol- 
lowing members : 
— modiolus, the 
nave ; radii, the 
spokes ; absides, 
the felloes ; canthus 
or orbis, the tire ; 
all of which are 
distinctly marked in the annexed 
figure, representing an original wheel 
now preserved in the cabinet of an- 
tiquities at Vienna. 

2. The expression, insistere rolls 
\ (virg. Georg. iii. 114.), literally "to 
: stand upon, or over, the wheels," is 
not a merely poetical figure of speech, 
but a graphical . description of the 






manner in which the ancient car 
[currus) was driven by its charioteer, 
whose posture was always a standing 
and not a sitting one, as shown by 
the annexed example from a terra- 
cotta lamp. Thus Martyn's trans- 
lation of the above passage — " to sit 



5 6 ° 



ROTA. 



RUBRIC A. 




victorious over the rapid wheels" — 
is not only incorrect as regards La- 
tinity, but suggests an image at direct 
variance with the words of the poet. 

3. The wheel of torture ; an instru- 
ment of punishment employed by the 
Greeks, by means of which the victim, 
when bound to 
the spokes, 
was whirled 
round with a 
rapid rotation 
till sensation 
or life became 
extinct, as ex- 
hibited by the 
annexed ex- 
ample from a Greek bas-relief repre- 
senting Ixion, who was condemned 
to the wheel by Jupiter for his in- 
gratitude and other overt acts. Cic. 
Tusc. v. 9. Apul. Met. iii. p. 48. 
Tibul. i. 3. 74. 

4. Rota aquaria. A water wheel, 
for raising water from a flowing j 
stream, and which works itself by the 
action of the current (Lucret. v. 
517.). Wheels of this nature, of 
very simple construction, but agreeing 1 
exactly with the description of Vi- 
truyius (x. 5.), are still employed in 
many countries, of which the follow- 
ing example, representing a water 
wheel commonly met with in China, 




will afford a very clear notion. The 
wheel itself is made entirely of bam- 
boo, and consists of two concentric 
rims, between which are affixed small 
paddles or float boards {piiince), 
which turn the wheel as they are 



urged by the current. On the outer 
circumference {frous) are situated a 
certain number of scoops {haustra), 
made out of single joints of the bam- 
boo, in place of which the Romans 
used wooden boxes {modioli) or 
earthenware jars {rotarum cadi). 
(Nan. s. Haustra, p. 13.) As the 
wheel revolves these are filled by 
immersion ; and being placed with a 
slight inclination upon the wheel, 
when they rise to the summit of revo- 
lution they are forced to discharge 
their contents into a receiving-trough 
which conducts the water into a 
reservoir, or into canals on the level 
of the high land. 

5. Rota fibular is. A potter 's wheel 
(Plant. Epid. iii. 2. 35.) laid hori- 
zontally, as a 
table, the mass 
of clay, out of 
which the vase 
is to be form- 
ed, being situ- 
ated upon it, 
and fashioned 
by the hands of 
the workman, as the rotatory motion 
of the wheel {currente rota. Hor. 
A. P. 21.) would readily assist in 
producing any circular form, either 
for the inside or the outside. The 
process is clearly shown by the an- 
nexed example from an Egyptian 
painting, which exhibits a potter sit- 
ting on the ground before his wheel, 
with the lump of clay, marked in a 
darker tint, upon it, gradually form- 
ing into shape ; the hollow part of 
the inside being scooped by the 
thumb of the right hand, and the 
outside rounded by the palm of the 
left one — a process precisely similar 
to what may be seen every day in 
our own potteries. 

ROT'ULA (tpox'ktkos). Diminu- 
tive of Rota. Plaut. Pers. iii. 3. 30. 
Plin. H. N. xviii. 48. 

RUBRI'C A. Red ochre; thence, a 
law, or ordinance of the civil law ; 
such, for instance, as the Twelve 
Tables, and in contradistinction to a 




R UDENS. 



R UNA . 



561 



praetor's edict, or rule of the courts 
{album) ; because the titles of the 
former, or, it may be, the entire text, 
were written with red ochre ; whereas 
the latter were posted on a white 
ground, and inscribed in the usual 
form. Quint, xiii. 3. II. Pers. v. 
99. Compare Juv. xiv. 192. 

RUD'ENS (icd\ws). A rope; more 
especially intended to designate any 
part of the lighter cordage constituting 
the rigging of a vessel (Pacuv. a p. 
Ccel. ad Cic. Fam. viii. 2. Virg. 
/En. 1. 91.), employed about the 
mast, or used for raising and trimming 
the sails ; in contradistinction to the 
heavier kinds, such as cables, haw- 
sers, &c. ; for example, the halyard, 
by which the sail was raised (Catull. 
lxiv. 235.), and down which the 
seaman slid from the yard to the 
deck (Ov. Met. iii. 616.), brail ropes 
(Virg. JEn. iii. 682.), sheets, or, per- 
haps, braces, or both. Id. x. 229. 

RUDIA'RIUS. A gladiator who 
had been presented with the rudis, in 
token of receiving his discharge. 
Suet. Tib. 7. 

RUDIC'ULA { K vK7)9pov). Dimi- 
nutive of Rudis. A mull or wooden 
spoon (Columell. xii. 46. 3.), for 
beating up, stirring, or mixing toge- 
ther different ingredients, whilst 
boiling, stewing, or making decoc- 
tions (Cato R. R. 95. 1. Plin. H. N. 




xxxiv. 54* )• The example, from a 
picture of still life at Pompeii, ex- 
hibits a plate of eggs, together with 
the vessel and mull for beating them 
up. 

RUD'IS (KVKvepou). An imple- 
ment for stirring and mixing liquids 



and other ingredients while boiling, 
&c. ; similar to the preceding exam- 
ple, but of larger dimensions. Cato, 
R. R. 79. Plin. H. N. xxxiv. 50. 

2. A stick with a knob at the end 
or blunted at the point, employed by 
gladiators and soldiers whilst learning 




the art of attack and defence, or 
practising for exercise and amuse- 
ment. (Suet. Cal. 32. Liv. xxvi. 
51. Ov. Am. ii. 9. 22. Id. A. Am.m. 
515.) It was usual to present an in- 
strument of this description to the 
gladiator who had received his dis- 
charge from service ; whence the 
expression rude donari, means to be 
relieved from duty. (Hor. Ep. i. 1. 
2. Compare Suet. Claud. 21.) The 
illustration, from an engraved gem, 
is believed to represent a gladiator 
with the rudis in his hands ; a conjec- 
ture which the round form of the 
object, and its proximate resemblance 
to the stirring mull, described under 
the primary meaning of the word, 
renders extremely probable. 

RU'GA {pvris). Literally, a 
wrinkle; whence, the -worm of a screw 
(Plin. H. N. xviii. 74. and Cochlea), 
and a small irregular crease or fold 
in a piece of drapery, contradis- 
tinguished from sinus, a deep and 
loose one, and from contabulaiio, a 
straight and regular one. Plin. H. N. 
xxxv. 34. Macrob. Sat. ii. 9. and 
woodcuts s. Contabulatio and 
Sinus. 

RUL/LA. See Rallum. 

RUM'EX. A weapon of similar 
character to the Sparum. Festus 
s. v. Lucil. ap. Fest. Aul. Gell. x. 25. 

R U N A. A weaDon of similar 
2 JNi 



562 RUMP I A. 



R UTR UM. 



character to the Pilum (Festus j Italy the terms ronca and roncone 
s. v. Ennius ap. Fest. ) ; perhaps an | are now used to designate a bill- 
antiquated term for pilum. \ hook. 

RUM'PIA. See Rhomp^ea. RUSSA'TUS. Clothed in red; 

RUNCA'TIO (IBorapia/jLos). The I especially employed to designate a 
act of thinning out and weeding young j driver {aurigtt) in the chariot races 
crops, by removing the weakly or I of the Circus, who belonged to the 
over thick plants and weeds, which red party {/actio russata), and wore 
choke up and draw off nourishment j a red tunic to distinguish him from 
from the rest. (Columell. ii. 12. 9. his competitors, whose colours were 
Plin. H. N. xviii. 50.) This opera- , respectively white, green, or blue, 
tion was usually performed after the j Plin. H. A r . vii. 54. Inscript. ap. 
hoeing {sarritio. Columell. ii. II. 9.), ! Reines, cl. 5. 11. 63. 
and was conducted chiefly by the j RUTA'BULUM. A fire-shovel, 
hand (Id. v. 6. 7. ), with the assistance 1 employed by bakers and smiths for 
of a crooked weeding-hook {runcd), \ throwing up the embers and ignitable 
for the removal of any stubborn roots j matter in their ovens and forges 
or weeds amongst the plants. j (Festus s. v. Isidor. Orig. xx. 8. 6. ) ; 

RUNCA'TOR. One who thins whence it is commonly mentioned in 
out and clears a crop from extraneous j conjunction with the tongs {forceps). 
herbage and weeds, in the manner Cato R. R. x. 3. xi. 5. Suet. Aug. 
described under the preceding word. , 75. 

Columell. ii. 12. I. Id. xi. 3. 19. j 2. A wooden shovel, used for stir- 
RUNCI'NA {pvKavq). A carpen- j ring together and amalgamating the 
ter's plane, for smoothing and levelling j new-made wine (mustum) with that 
surfacesin wood (Plin. ^ j which was boiled down {defrutum) 

H. N. xvi. 82.), of fj t , v j and other ingredients infused into it 
which an example is V^tf\ v ^ for the purpose of producing an arti- 

affordedfromasepul: Plllllllll'il'NIil'ili'llllliP'W-'l \ fi c j a l body and flavour. Columell. 
chral marble at Rastadt, which is j xii. 20. 4. Ib. 23. 2. 
furnished with a handle, and shows j RUTEL'LUM {S/xaXicn-np). Di- 
the holes through which the shavings j minutive of Rutrum. A strickle, or 
{ramenta) turned up. The same i small shovel employed by corn meters 
name was also given to the rebate \ for filling the measure and levelling 
plane, employed by cabinet-makers, j the surface, in order to strike the 
joiners, and carvers in wood, for I exact quantity. Lucil. Sat. ix. 18. 
making grooves or channels between i ed. Gerlach. 

the folds of drapery, &c. Tertull. i RUT'RUM. The implement with 
Apol. 12. Augustin. C. D. iv. 8. I which Remus is said to have been 

RUN'CO. A weeding-hook . (Pak j slain (Ov. Fast. iv. 
lad. i. 43. 4.), employed for rooting | 843.); consisting of a 
out briars and other stubborn offsets | large arid broad iron 
amongst the young crops, when they j blade into which the 
were being thinned and cleared out j handle was inserted per- 
\runcatio). It was formed with a j pendicularly, like our 
cutting edge and bent neck, like the 1 shovel ; and which, like 
falx (Isidor. Orig. xx. 14. 5.), and j that, was adapted for the various 
appears to have received its name j purposes of grubbing, scraping, dig- 
from the Greek pvyxos, the snout of a I ging, and mixing ; as, for breaking 
beast and the bill of a bird, either in j down clods of earth (Varro, L. L. v, 
allusion to the form, or to the manner j 134.); scraping and throwing up 
in which it was applied, of pecking j sand (Festus s.'v.) ; for kneading and 
and routing up the earth. In modern J chopping up mortar (Vitruv. vii. 3. 




SABANUM. 



SACCUS. 



5^3 



Pallad. i. 15.); and other similar 
uses to which such a form would be 
adapted. The example represents 
the blade of a shovel of this nature 
from an original discovered amongst 
various other building implements at 
Pompeii. 



SAB'ANUM {aaBavov). A linen 
cloth, employed as a napkin to con- 
tain anything (Pallad. vii. 7. 3.); a 
towel for rubbing and drying (Veg. 
Vet. v. 46. 11.), and for wrapping 
round the body to confine the perspi- 
ration after sweating in the vapour 
bath. Marcell. Empir. 26. 

SAB'ULO. (Macrob. Sat. ii. 1.). 
A player upon some musical instru- 
ment ; but the reading of the word is 
extremely doubtful, and, consequently, 
the interpretation given to it. 

SAGCEL'LUS. Diminutive of 
Sacculus. A very small bag. Pet. 
Sat. 104. Cels. iv. 4. 
_ SAC'CEUS. Made of coarse 
linen or sackcloth. Hieron. Vit. 
Hilar. 44. 

SACCIPE'RIUM {aaKKotr-hpa). A 
■large bag made of sackcloth*, and em- 
ployed as a receptacle within which 
the smaller bag' or purse was de- 
posited. Plant. Rud. ii. 6. 64. 

SAC'CULUS {aaxKinv). Any 
small sack or bag (Apul. , Met. ix. 
p. 200.;) ; and espe- 
cially one employed 
for holding money gy^ 
(Catull. xiii. 7. Juv. ' 
xiv. 138. ) ; as in the 
annexed example, which exhibits a 
bag of this kind with a heap of money 
lying beside it, from a painting at 
Pompeii. 

2. (Cic. Fin. ii. 8.) Diminutive of 
Saccus 3. 

• ■ SACCUS {ctolkkos). A large bag 
or sack, made of coarse linen cloth ; 
as a corn or flour sack (Cic. Verr. 
ii. 2. 38. Ph?edr. ii.7.), like the an- 
nexed example from a group of 



soldiers on the Trajan column, who 
are busied in carrying to their re- 






spective quarters a number 01 sacks 
of corn distributed for the use of the 
army. 

■ 2. A sack or large bag for holding 
money, the use of which is intended 
to convey a notion of enor- 
mous wealth (Hor. Sat. ii. 
3. 149. Id. i. 1. 70. ), where- 
as the diminutive sacculns 
conveys an impression of 
poverty or small means. 
The example is copied frcm a bas- 
relief discovered at Rome, which, as 
the inscription on it testifies, was 
formerly employed as a street direc- 
tion, to point out the way to the 
public treasury. 

3. Sacais vinarius. A basket, net, 
or strainer, made of bulrushes, osiers, 
or bast,' and in the shape 
of an inverted cone (Colu- 
mell. ix. 15.12.), through 
which the ancients strain- 
ed their wine after it was 
made, for the purpose of 
clearing it and mitigating 
its intoxicating qualities (Plin. H. X. 
xxiv. I. Id. xiv. 28. Mart. xii. 60.). 
The illustration exhibits an article of 
the kind described, from a Roman 
bas-relief representing various pro- 
cesses connected with the vintage, 
and the making of wine ; the grapes 
with which it is filled, indicate the 
object for which it was used. 

4. Saccns nivarhis. A piece of 
coarse cloth, employed in a common 
way, or by poor people, instead of 
the colum nivariinn, for the purpose of 
cooling their wine by mixing it with 




564 SACELLUM. 



SAGA. 



snow ; the cloth, with a lump of 
snow upon it, being placed over the 
wine cup, and the liquor then poured 
upon the snow, and made to filter 
through the cloth into the cup. Mart, 
xiv. 104 

SACEL'LUM {irepi&oAos). A di- 
minutive from Sacrum. A small 
enclosed precinct, either square or 
round, consecrated to a divinity, and 
containing an altar (C. Trebat. ap. 
Gell. vi. 12.), but not roofed over 
(Festus s. v. ). Such a spot was often 
set apart by individuals on their own 
property in honour of some favourite 
deity, as well as by the state, for 
public reverence. Cic. Div. i. 46. 
Id. Agr. ii. 14. Ov. Fast, i. 275. 

SACE'NA. See Scexa. 

SACER'DOS (Upevs and lepda). 
A priest, and a priestess ; a general 
term applied to both sexes of all 
classes and orders of the piiesthood ; 
including, therefore, the Augur, Pon- 
tifex, Flamen, Vestalis, and others 
enumerated in the Classed Index, 
and described under their special 
titles. Varro, L. L. v. 83. Cic. Leg. 
ii. 8. Id. Verr. ii. 5. 45. Ov. Fast. 
v. 573- 

SACERDO'TULA. A young 
priestess, or one of inferior grade 
who ministers to her superior. Var- 
ro, L. L. v. 130. Festus s. Flaminia. 

SACO'MA (crrjKca/xa). A counter- 
poise ; properly a Greek Avord Latin- 
ized ( Vitruv. ix. Prcef. 9. ), for which 
the Roman expression is ^Equipon- 
ditjm, where see the illustration. 

SACOMA'RIUS. Onewho makes 
weights for counterpoises. Inscript. 
ap. Mur. 979. 4. 

SACRA'RIUM (! e poQv\d K tov). In 
a general sense any place where 
sacred things are kept, but more 
especially the sacristy of a temple, in 
which the utensils, vessels, imple- 
ments, &c, used in the service of the 
deity, were preserved (Serv. ad Virg. 
4Bu. xii. 199. Ov. Met. x. 691.); 
whence the town of Caere, to which 
the Vestals fled with the sacred fire 
and property of their temple when 



Rome was besieged by the Gauls, is 
termed by Livy the sacristy of the 
Roman people — sacrarium populi 
Romani. 

2. A private chapel in a man's own 
house (Cic. Fa;n. xiii. 2.), such as 
are attached to some of the mansions 
of our old nobility and great Catholic 
families. An apartment of this na- 
ture has been discovered in one of 
the houses at Pompeii, consisting of a 
square room, with an absis at one 
end for the statue of the divinity, an 
altar in the centre within a small 
peristyle of four columns which sup- 
ported the roof, and furnished with 
a separate flight of stairs on each 
of its flanks, conducting to the suites 
of apartments situated in the upper 
story. 

3. An apartment in the Imperial 
palace (Auson. Grat. Act.) ; so styled 
in order to flatter the emperor by 
insinuating his deification. 

SA'GA. Literally, a wise Avoman, 
deeply versed in religious mysteries 
(Cic. Div. i. 31. Festus s. Sagaces) ; 
whence the more common meaning 
affixed to the word corresponds with 
our terms, a witch, sorceress, fortune- 
teller. (Hor. Od. i. 27. Columell. i. 8. 
6. Id. xi. 1. 2.) The annexed figure 




of a female in a Pompeian painting, 
who in the original is sitting just 
outside the door of a miserable 
thatched hovel, exhibits all the popu- 
lar characteristics, and seems to ex- 



SAGATUS. 



SAGITTO. 56^ 



hibit the original type of our nursery 
witch. The Mother Shipton's hat, 
the magic wand, the dog, and the 
caldron, are all recorded and depicted 
in children's story-books. 

SAGA'TUS. Wearing the mantle 
of coarse woollen cloth, term.Qd.sagum, 
as explained and illustrated under 
that word ; and as the sagum was 
worn by the military more especially, 
the word sagatus is frequently opposed 
to togatns, thereby implying that the 
individual so equipped is prepared 
for military duty, or for a violent 
conflict. Cic. Fragm. ap. Ron. s. 
Sagum. Capitolin. Marc. Antonin. 
Philos. 27. 

2. Made of coarse long-napped 
wool ; e. g. of the same fabric as the 
sagum. Columell. xi. 1. 21. Id. i. 
8. 9. 

SAGE'NA (<rayf]ur,). Our seine ; 
a large drag-net for taking fish, one 
edge of which was floated by corks 
on the water, and the other depressed 
and extended by leaden weights ; the 
entire length of the net being suffi- 
cient to enclose a considerable extent 
of water, as much as an entire bay. 
(Alciphr. Ep. i. 17.). One end of it 
was carried out from a boat or from the 
shore, and laid round in a circle until 
the two ends were brought together, in 
which state it was dragged into the 
boat or shore, in the same manner as 
still practised in the gulf of Naples, 
and on the coast of Cornwall. Manil. 
Astron. v. 678. Ulp. Dig. 47. 10. 
13. 

SAGINA'RIUM. A place in 
which poultry is put up to be fatted. 
Varro, R. K. iii. 10. 7. 

SAGIT'TA (to^v/ulo., 6'ia-rhs, 16s). 

An arrow ; amongst the Greeks and 



Romans usually made with a plain 
bronze head, without barbs, as ex- 
hibited by the annexed specimen, 
from an original found in Attica. 

2. Sagitta hamata or adunca. An 
arrow with a barbed head, like the 



annexed example, from a terra-cotta 
lamp ; the use of which is more espe- 

' ju> - 



cially characteristic of the Asiatics 
and northern nations. Ov. Trist. iii. 
10. 63. 

3. A lancet or phle?ne for bleeding 
cattle (Veg. Vet. i. 22.4. /£. 25. 5.); 
evidently so termed from being 
formed in the same shape as the 
Greek and Roman arrow-head, 
as shown by the annexed speci- 
men from an original of bronze, 
found in a surgeon's house at 
Pompeii. 

SAGITTA'RII. Archers or bow- 
men, who formed part of the light- 




armed infantry in the Roman armies. 
But as the bow was not a national 
weapon amongst the Romans, the 
battalions of archers were generally 
furnished by the allies. (Caes. Sail. 
Tac. &c.) The illustration repre- 
sents a German archer from the 
column of Antoninus. 

2. Sagittarii equites {i-mvoTo^rai). 
Mounted bowmen. Tac. Ann. ii. 
16. Curt. v. 4. See Hippotoxota. 

SAGIT'TO (To|ewB). To shoot 
with a bow and arrows ; an art 
amongst the Greeks and Romans 
almost entirely confined to the sports 
of the field or exercises of skill. The 
illustration is taken from a fictile 
vase, representing three Greek youths 
shooting at a cock tied on the top of 
a column. One of them kneels in the 
same position as the figure s< Phare- 



566 



SAGMA. 



SAGOCHLAMYS. 



TRATUS, and the present figure shows Epist. ap. Vopisc. Aurel. 7.) The 



the precise manner of handling the , SAGOCHLAM'V S. A particular 
bow, frxino- the arrow, drawing it be- kmd of military cloak introduced 
tween the fingers, and of directing its un der the empire, which, as the name 
course by projecting the forefinger of implies, must have possessed some 
the left hand along the shaft ; thus property common to the Greek 
graphically illustrating the various chlamys, and the Roman or foreign 
passages which describe the process sagum* (Valer. in Epist . ap. Trebell. 
—nervo aptare saoittas (Virg. jEii. Claud. 14.) Both the figures m the 
x. 131.); imponere (Ov. Met. viii. annexed woodcut, one of whom re- 
381.); dirigere (Claud, iv. Cons, presents a loreign soldier m the 
Honor 530 ) &c Roman service, and the other a cap- 

SAG'M A (trdy'na). A pack-saddle tive youth of the same nation, wear 
made on a frame^and employed for an outer cloak of very peculiar 
sumpter horses and beasts of burden, fashion, repeatedly occurring on the 
to receive the panniers or loaded \ column of Antoninus It is formed 
goods, as contradistinguished from , by two square pieces of cloth fastened 
the ordinary riding-pad {ephippium), \ together over each shoulder by 
which was soft and stuffed, and had brooches ; so that one of the parts de- 
no tree (Veg. Vet. iii. 59. 1. Isidor. pends m front of the person, the other 



piling up the goods all round. ( &X .2 FW» 

SAGMA'RIUS. A horse, mule, : in a corresponding manner at the 
or other beast of burden, who carries i back. The square form, the length of 
a load upon the pack-saddle [sagma] the drapery, the manner of adjust- 
as described under the last word. | ing, and the general appearance pre- 
(Lamprid. Elag. 4. Aurel. Imp. in sented by it, afford many points of 




annexed illustration is copied from 
the column of Trajan. 




SAGULA TUS. 



SALGAMARIUS . 567 



resemblance to the two articles of [ 
attire compounded in the present 
name, as will be apparent by referring 
to the figures which illustrate those j 
terms respectively ; and, as it cannot 
be doubted that a garment so singular 
as the one above delineated must I 
have been called by a name of its ' 
own, while no other occurs in the 
language so appropriate as the one 
affixed, it is not unreasonable to infer 
that it is the true one. 

SAGULA'TUS. Wearing the 
sagulwh. Suet. Vit. II. 

SAG'ULUM. Diminutive ' of 
Sagum ; the diminutive sometimes 
implying fineness of texture, as well 1 
as reduction in size, a thin or fine 
sagum, as well as a small one. Suet. | 
Aug. 26. Liv. vit. 34. Sil. Ital. iv. I 
515. xvii. 527. ^ -I 

S AG'UM and -US (crdyos, iipairris). 
Properly a Celtic word, the original ; 
of our st skag 1 " i and adopted in the ! 
same sense by the Romans to desig- ! 
nate a mantle made of coarse wool, 
or of goat's hair, with the nap left on. 
It consisted of a square, or at least j 
rectangular, piece of cloth (Afran. i 
ap. Charis, 1. 81.), which when off 
the person could be spread out like a 
sheet (Suet. OtJio, 2.), but when put 
on was folded in two and fastened by 
a brooch {fibula, Varro ap. Non. s. v. \ 
p. 538., whence sagum fibulatorium. \ 
Trebell. Poll. Trig. Tyrann. 10.), or 
tied in a knot {nodus, and woodcut 
s. v.) on the top of the left shoulder, 
the brooch being fixed through one 
edge of the drapery at the distance of 
about one third from each of the cor- 1 
nerSj so that the left arm and side 
were covered and protected, the right 1 
being left open and free, while the 
two upper corners fell upon the 
breast and arm, and the two lower 
ones depended before and behird on 
the level of the knees, as is plainly j 
exhibited by the annexed figure, j 
from a bas-relief in the Museum at 
Verona, representing a lictor in the 
sagum, which was his appropriate 1 
costume when in attendance upon the 



governor of a province (Cic. in Pis. 
23. ). As the sagum was more es- 
pecially a militarv costume, both for 




the officers and common soldiers, it 
was for that very reason assumed by 
the citizens generally instead of the 
cumbrous and stately toga, in times 
of tumult or threatened invasion ; 
whence such expressions as saga 
sumere — in sagis esse — ad saga ire 
— are always indicative of turbulent 
and troubled times or of a state of 
actual warfare. Cses. B. C. i. 75. 
Sallust. Fragm. ap. Non. s. v. p. 538. 
Cic. Phil. viii. II. Liv. Epit. 72. 

2. A saddle-cloth ; composed of 
coarse shag 
placed under the 
tree-saddle {sella 
bajulatoria) or 
the pack-saddle 
{sagma), to pre- 
vent the hard 
substance from 
galling the animal's back (Veget. 
Vet. iii. 59. 2.), as exhibited by the 
annexed illustration from a painting 
at Herculaneum. 

S AUG AM A (to aXixala). Pickles ; 
made from roots, herbs, fruit, &c, 
potted down and preserved in brine. 
Columell. x. 117. Id. xii. 4. 4. 

S ALG AM A'RIUS (a\ueuT7)s). 
One who makes and deals in pickles 
{salgama) of the kind last described. 
Columell. xii. 44. I. 




568 S A LI ENS. 



SALISl'BSULUS. 



SAL'IENS. A jet d'eau, or arti- 
ficial fountain in -which the water is 
made to shoot forth or leap up by the 
force of its own pressure, in passing 



because the priest is engaged at a 
sacrifice of thanksgiving for some 
victory. The lower figures, from an 
engraved gem. which is inscribed 





through a small tube (sip/10) which 
gives it vent. (Cic. Q. Fr. iii. I. 2. 
Vitruv. viii. 6. 2. Ulp. Dig. 19. 1. 
15.) Agrippa formed one hundred 
and five of these fountains in the city 
of Rome (Plin. H. N. xxxvi. 24. § 
9. ), and the illustration exhibits one 
still remainhig in the fuller's esta- 
blishment at Pompeii. 

SAL'II (SaAfoi). The Salii ; 
twelve priests of Mars Gradivus, who 
had the custody of the ancilia, or 
sacred shields. Their costume con- 
sisted of an embroidered tunic, girt 
round the waist with a broad military- 
belt of bronze (ClNGULUM, 4.); or 
possibly covered by a 
breastplate (Pecto 
rale), which seems 
more probable ; and 
the trabea for an out- 
ward mantle. On 
their heads a pointed 
bonnet (Apex) ; a 
short sword suspended 
from the left side, a 
shield upon the left 
arm, and in the right 
hand a spear or a 
wand with which they 
struck the sacred shields as they were 
being - carried through the city bv 
their ministers suspended from a 
pole. (Liv. i. 20. Dionys. ii. 70.) 
Most of these particulars are illus- 
trated by the annexed woodcuts ; 
the first of which, from a Roman 
bas-relief, exhibits the apex, trabea, 
and wand above mentioned ; a branch 
of laurel is carried m the left hand, 




with Etruscan characters, exhibit the 
embroidery on the drapery, the sa- 
cred shields, and the method of 
carrvin^ them in procession. 

SALIL'LUM (Catull. xxiii. 19.). 
Diminutive of Salinum. 

S ALPN^E {aAoTTTjyiov). Places ci* 
pits in which salt is made. Plin. 
H. N. xxxi. 39. 

SALINATOR (a\oir V yos). One 
who prepares or makes salt ; thus 
salinalor cerarins {Ennius ap. Serv. 
ad Virg. JEn. iv. 244.) is one who 
leased from the government the privi- 
lege of making and selling salt. 

S ALPXUM. A salt-cellar ; both 
for holding the salt which was 
sprinkled over the altar at a sacrifice, 
and that which was used at meals. 
It usually consisted of a cup standing 
in a dish or a saucer ; and, from being 
employed at the domestic sacrifice, 
was regarded as an object of vene- 
ration in the family ; so much so, 
that persons even of slender means 
were ambitious to possess one of 
silver, if they could contrive to pur- 
chase it. Yal. Max. iv. 4. 3. Liv. 
xxvi. 36. Hor. Od. ii. 16. 13. 

SALISA'TORorSALISSATOR. 
One who forbodes the occurrence of 
good or evil from the sensible pul- 
sation or palpitation of any part of 
his bodv. Isidor. Orig. viii. 9. 29. 

SALISUB'SULUS. A dancing 
Salian ; an epithet given to the priests 
of Mars (Catull. xvii. 5.), in allusion 
to the dance which they performed 



SALPICTA. 



SALT A T10. 569 



fin certain festivals, as described s. I 
Saltatio, ii. 3. 

SALPICTA or SALPIS'TA 
((TahTTi'yKTrjs, aaKiriarrjs). (Jul. Firm. ! 
viii. 21. Vopisc. Carin. 19.) A j 
word coined from the Greek, for 
which the Latin term is Tubicen ; 
which see. 

SALSAMENTA'RIUS {rapixo- 
irwKrjs). A dealer in salted fish. 
Auct. ad Herenn. iv. 54. Macrob. 
Sat. vii. 3. 

SALSAMENTUM. The brine 
or pickle used for salting fish (Cic. 
Div. ii. 57.) ; whence also the salted j 
fish itself ; Greek rdpixos. Terent. 
Adelph. hi. 3. 26. 

SALTA'TIO (opxyvis, x^P sv<Tls )- 
A dancing, or a dance ; under which 
term the inhabitants of ancient Greece 
and Italy designated four different 
kinds of exercises having little in 
common with one another, beyond the 
circumstance that the motions of the 
performers in all of them were ac- 
companied and regulated by strains 
of music or a chorus of voices : viz. 

I. Religions dances ; consisting for 
the most part of slow and stately 
movements round the altar, without 
any violence of gesture or attempt at 
gymnastic dexterity, and more in the 
nature of a ceremonial accompanied 
by music, than what is implied 
by our term dance ; consequently, 
amongst the Greeks and Romans free- 
born citizens of both sexes and all 
ranks, even the highest, took a part 
in these exhibitions, without any dis- 
paragement to the gravity of their 
characters or dignity of position. 
Quint, i. 11. 18. Macrob. Sat,, ii. 
10. Serv. ad Virg. Bucol. v. 73. 

II. Gymnastic or war dances ; 
which served as a training for the 
field and a stimulus to military va- 
lour, like the dances of the South Sea 
Islanders and the Indians of North 
America. Amongst these are enu- 
merated : — 

1. Saltatio Corybantum. The 
Corybantian dance, more especially 
peculiar to the natives of Phrygia 



and Crete ; which possessed a mixed 
character between the religious, mili- 
tary, and mimetic exhibitions, the 
performers being armed, and bound- 
ing about with wild and violent ges- 
tures while striking their shields and 
swords together, to imitate the noise 
made by the Corybantes, when en- 
deavouring to stifle the cries of the 
infant Zeus, in the island of Crete. 
(Lucian, Salt. 8. Strabo, x. 3. 21.) 
It is supposed to be represented by 
the annexed figures, from a Greek 




bas-relief in the Vatican. The entire 
composition now remaining contains 
six figures, all in the same attitude as 
the pair here introduced ; but as 
neither of the two outside ones is con- 
fronted by another, it is evident that 
j the marble is only a fragment which 
originally formed part of a longer 
frieze, including a greater number of 
performers. 

2. Saltatio Pyrrhica. The Pyrrhic 
dance ; described and illustrated s. 

! Pyrrhica. 

3. Saltatio Saliorum. A dance 
j performed by the Salii, or priests of 

Mars (Quint, i. II. 18.), during the 
ceremony of carrying the sacred 
I shields (ancilia) through the city of 
j Rome. We have no representation 
j of this performance ; but it may be 
! inferred from a passage of Seneca 
(£/>. 15.), that the motions exhibited 
; by these priests resembled the act of 
leaping and jumping, more than 
1 graceful or measured steps, for he 
I compares them to the stamping and 
I jumping of fullers {salt as fullonius 



57° 



S ALT ATI O. 



SALTATRIX. 



upon the clothes they are engaged in 
cleaning, as explained and exhibited j 
bv the text and wood-cuts under I 
F'ullo and Fullonica, but they 
evinced a considerable degree of mus- 
cular strength and agility. 

4. Saltatio bellicrepa. A Roman 
dance of a military character, said to 
have been instituted by Romulus, in 
commemoration of the rape of the 
Sabines, and as a ceremonial for 
averting a similar calamity from his 
own people. Festus, s. v. 

III. Mimetic dances ; in which the 
performers represent certain events 
and actions by mere gesticulation and 
movements of the body, to a musical 
accompaniment, but without the aid 
of the voice, like the actors in a 
modern ballet. These exhibitions 
would in our day be classed under 
the name of acting in dumb show, for 
dancing, in our sense of the term, 
had no place in it, the performance 
consisting in expressive movements 
of the features, body, arms, and 
hands, rather than the feet. Macrob. 
Sat. ii. 7. Suet. Cal. 57. Nero. 54. 
Tit. 7. Ov. A. Am. i. 595. 

IV. Operatic dances ; in the ordinary 
sense of the word as applied by our- 
selves ; intended as an exhibition of 




grace, agility, and strength, in which 
the movements of ihe feet and body 
perform the essential part, without 
any direct attempt at mimetic re- 
presentation, as shown by the an- 
nexed group, from a fictile vase. 
Such dances were chiefly exhibited 
for the amusement of the guests 



at great banquets; and numerous 
representations of the persons who 
performed in them, both male and 
female, have been found amongst 
the paintings of Herculaneum and 
Pompeii, all showing the great de- 
gree of perfection to which the art of 
dancing had advanced in ancient 
times. 

SALTA'TOR {6pxv<rTys Tta.nb\xi- 
/xos). A dancer; only of mimetic 
dances on the stage (Saltatio III.), 
or of operatic dancers at banquets 
and public places (Saltatio IV. ) ; 
not the performer in a religious, nor 
in a war-dance (Saltatio I. and II.); 
the two former being regarded by 
the Romans as a degrading or un- 
becoming employment, but the two 
latter in nowise derogatory. Hence 
the term always contains an implied 
sense of contempt or reproach. Cic. 
Mur. 6. Id. Off. 1. 42. Macrob. Sat. 
ii. 10. 

SALTATRI'CULA. Diminutive 
of SaltatriX; the diminutive con- 
veying a notion of disparagement. 
Aul. Gell. i. 5. 

SALTA'TRIX (bpxforpia). A 
dancing girl ; a class of women com- 
mon in ancient Greece and Italy, as 
now in the East, of indifferent morals 




but considerable personal beauty, 
who hired themselves out to dance 
at great banquets and entertainments 
for the amusement of the guests. 
(Cic. Pis. 8. Ammian. xiv. 6. 19. 
Macrob. Sat. ii. 10.) Females of 



SALTUARIUS, 



SAMNITES. 



5?I 



this description are frequently repre- 
sented in the Pompeian paintings, 
from one of which the annexed 
figure is copied ; mostly furnished 
with a large and transparent piece of 
drapery, which is sometimes wrapped 
in graceful folds round the person, 
sometimes, as in the example, allowed 
to expand itself as a partial veil, and 
at others entirely removed from the 
figure, and carried floating in the air, 
so as to leave the body altogether ex- j 
posed to the gaze of the spectators, — I 
a scandal which is not to be ascribed 
to the caprice of the artist, but which, 
at least under the corruptions of the | 
Imperial age, was actually practised, j 
Tertull. de Spectac. p. 269. 

SALTUA'RIUS. Strictly, a slave | 
charged with the superintendence of j 
a tract of woodland and pasture {sal- 
tus), whom we might call a forester \ 
or ranger (Inscript. ap. Orelli, 1599.); 
but the word is mostly applied in a j 
more general sense to designate the j 
steward of a landed estate, who per- 1 
formed the same duties, and stood in j 
a similar relation to the country j 
tenants of his master, as the insularius | 
in the city; /. e. he had the general j 
superintendence of the lands and 
farms, attended to the letting and j 
keeping up of repairs, that the pro- 
perty might not be wilfully or care- 
lessly deteriorated. Pet. Sat. 53. 9. 
Pomp. Dig. 7. 8. 16. African. Dig. 
32. I. 58. 

SALUTIGER'ULI sc. pneri. A 
class of slaves whose occupation con- 
sisted in carrying out complimentary 
messages, salutations, &c, to the 
friends and acquaintances of their 
masters. Plaut. Aul. iii. 5. 28. 

SAMBU'CA {aafx&vKri). A stringed 
instrument with chords of different 
lengths and substance, similar to our 
harp. (Scipio African, ap. Macrob. 
Sat. ii. 10. Persius v. 95. Porphyr. 
in Ptol. Harm.) It was sometimes 
of small dimensions, like the Welsh 
harp ; at others a large and powerful 
instrument, like our own, and highly 
ornamented, as shown by the annexed 



iple, from an Egyptian painting, 




now well-known as Bruce 's harp, 
who first made it public. 

2. A military engine employed for 
scaling walls. (Festus s. v. Veg. 
Mil. iv. 2.1. Vitruv. x. 16. 9.) In 
the absence of any representation of 
the machine, we may easily conceive 
its use and character from the above 
figure, as a movable platform raised 
up and down by a number of ropes 
attached to pullies on the top of the 
frame, like the strings of a harp. 

SAMBU'CINA andSAMBUCIS'- 
TRIA (a-afx^vKiorpia). A female 
harpist (Plaut.- Stick, ii. 3. 57.); 
mostly a foreign woman of Egyptian 
or Asiatic race. (Liv. xxxix. 6.) 
When playing, she either stood up- 
right, in the position of the preceding 




figure, or knelt and sat upon her 
hams, as in the annexed example, 
which represents an Egyptian per- 
former, from the tombs of Beni 
Hassan. 

SAMNI'TES. A class of gladi- 



572 SA NDA LIGER ULsE. 



SARABALLA. 




ators (Cic. Sext. 64.), who wore the 
same kind of armour as the Samnite 
soldiers, viz. a 
close helmet with 
wings {piwuz) at 
the sides (Varro, 
L. L. v. 142.), a 
shield of the kind 
called scutum, a 
greave (ocrea) on U 
the left leg (Li v. 
tx, 40. ) ; and a 
piece of armour 
or armlet [mani- 
ca, Juv. vi. 256.) 
on the right arm, 

which was not protected by the shield. 
Most of these particulars are distinctly 
visible in the annexed figure, which 
from that circumstance is believed 
to represent a gladiator of the class 
in question. It will, however, be 
observed that both the legs are fur- 
nished with greaves, instead of the 
left one only, as expressly mentioned 
by Livy and Juvenal (//. cc. ) ; but as 
the original, which once formed part 
of a bas-relief in stucco, on a tomb 
at Pompeii, has entirely perished, in 
consequence of the fragile nature of 
that material ; and had, moreover, 
suffered from the lapse of time before 
it was first discovered, it will not be 
unreasonable to assume that Mazois, 
the artist to whom we are indebted 
for the design, has added the greave 
to the right leg to make both match, 
in ignorance of the real fact, or, per- 
haps, misled by corrosions of the 
stucco. 

SANDALIGER'UL^E. Female 
slaves who carried their mistresses' 
dress slippers {sandalia) when they 
went out. Plaut. Trin. ii. 1. 29. 

SANDA'LIUM {cravlaKiov, advda- 
Xou). A highly-ornamented slipper 
worn by the ladies of Greece, from 
whom it was adopted by those of 
Rome. (Terent. Eun. v. 7. 4. Tur- 
pil. ap. Non. s. Priores, p. 427.) In 
character it appears to have possessed 
an intermediate form between the 
calceolus and the solea, having a sole 



and upper leather over the toes and 
front half of the foot, but leaving the 
heel and back part 
uncovered, like a mo- 
dern slipper ; and to 
this part it is probable 
that a strap, or a sandal as it is now 
called, was, sometimes at least, at- 
tached to fasten it over the instep. 
The use of it was exclusively con- 
fined to the female sex ; and accord- 
ingly the example here introduced, 
which also shows the manner of de- 
corating the upper leather, is worn 
by a female in a Roman bas-relief ; 
another, of precisely similar form, 
is met with on the feet of a female 
figure in one of the Pompeian paint- 
ings. Mus. Borb. vii. 39. 

SANDAP'ILA. A coarse and 
common kind of coffin or bier, in 
which the corpses of indigent people 
and of malefactors were carried out to 
burial. Fulgent, s. v. Suet. Dom. 17. 

SANDAPILA'RIUS. One who 
carries out the bier called sandapila. 
Sidon. Ep. ii. 8. 

SANGUIC'ULUS. A sort of 
black pudding, made with the blood 
of a kid. Plin. H. N. xxviii. 58. 

SAN'NIO. Literally one who 
grins or makes grimaces ; whence a 
stage buffoon, who 
endeavours to excite 
the merriment of the 
spectators by any kind 
of grotesque gesture, 
ridiculous manner, or 
distortion of the face 
and body, in the man- 
ner exhibited by the 
annexed figure, re- 
presenting a perform- 
er of the kind de- 
; scribed, from an en- 
• graved gem. Cic. Or. ii. 61. 

SAPA (ei|/77,ua, alpaiov). Must, or 
new wine boiled down to one third of 
its original quantity (Plin. H. N. xiv. 
; II.), employed principally for season- 
I ing and strengthening other wine. 
Columell. xii. 19. 
S ARAB AL'LA and SARA- 




SAPO. 



SARCINALIS. 573 




BA'RA (o-apdpaWa and -Papa). 

Long and loose trowsers (fluxa ac 
sinuosa, Isidor. 
Orig. xix. 23. ) 
reaching from the 
waist to the instep, 
worn by the Par- 
thians (Publius 
ap. Isidor. /. c. ), 
Medes (Tertull. 
Pall. 4. ), and some 
others of the Asi- 
atics ; and also 
by the Northern 
people, as repre- 
sented by the annexed figure of a Ger- 
man auxiliary on the column of Trajan. 

SA'PO {(rdTrwi>). A Celtic or 
German word, containing the ele- 
ments of the low German sepe, and 
our soap, but indicating an article of 
different character, both in quality 
and use, from what is now understood 
by that term ; inasmuch as the ancient 
sapo was not made for washing, but 
as a pomade for tinging the hair of 
a light brown colour. It was com- 
posed with goat's tallow and beech- 
wood ashes, the most approved 
quality being manufactured by its 
inventors the Germans, the next best j 
in Gaul. It was made up into balls, ! 
and imported at Rome for the use 
of women and young fashionables, j 
amongst whom light hair was con- ] 
sidered extremely beautiful, as it is 
by their descendants of the present j 
time. Plin. H.N. xxviii. 51. Com- , 
pare Mart. viii. 33. 20. Id. xiv. 26. 
Beckman, History of Inventions, vol. ' 
ii. p. 92. Lond. 1846. 

SARA'PIS {aa.pa.Tns). A tunic 
worn exclusively by the kings of 





Persia, which had a sort of reddish- 
purple tint (purpureas, TropQiipeos) 



decorated with a stripe of white down 
the front (/uecoAeu/cos), as is plainly 
shown by the annexed illustration, 
representing Darius at the battle of 
Issus, from the celebrated mosaic of 
Pompeii, in which the shades cf 
colour are tinted as described. 
Plaut. Pcen. v. 5. 33. Compare 
Curt. iii. 3. 28. Hesych. s. v. 

SAR'CINA. A pack or bundle of 
things collected together and made 
up into a lump for 
the convenience of 
carriage by men, 
beasts of burden, or 
in vehicles (Pet. 
Sat. 117. II. 
Phaedr. ii. 7. Hirt. B. Ajr. 75.), as 
contradistinguished from fascis, a 
bundle tied up into a faggot. The 
example is from the column of 
Trajan, and shows the way in which 
the ancient packs are uniformly re- 
presented when tied up. 

2. The personal baggage belonging 
to, and carried by, a Roman soldier on 
the march ; viz. his 
arms, clothes, ra- 
tions for a certain 
number of days, 
and the utensils for 
cooking them ; as 
contradistinguished 
from impedimenta, 
the baggage of the 
entire army. Caes. 
B. G. i. 24. Id. B. C. iii. 76. Hirt. 
B. Afr. 75. The illustration represents 
a Roman soldier, with his baggage 
as described, on the column of Trajan. 

SARCINA'LIS and SARCI- 
NA'RIUS. A pack-horse, or other 
animal, which 
carries a load on 
his back, made 
up into the form 
of a sarcina, as, 
exhibited by the 
annexed illus-,' 
tration from thej 
arch of Constan- 
tine. Cses. B. C. 
i. 81. Ammian. xv. 5. xxix. 5. 





574 SARCINATOR. 



SARRACUM. 



SARCINATOR (a/ceo-Wjs). One | 

whose trade consists in mending and j 
repairing garments (Lucil. Sat. xxviii. 
33. Plaut. Aul. hi. 5. 41. Alciphr. I 
Ep. hi. 27. Paul. Dig. 47. 2. 82.) ; j 
not a tailor, in our sense of that word, I 
for the garments of the ancients did i 
not require to be cut out and fitted like 
our own ; the outer ones being chiefly 
formed by a large rectangular piece 1 
of cloth, the underneath ones of two 
or more breadths of similar shape, 
merely sewed together at the sides j 
and top, excepting where openings 
were left for the arms and head to j 
come through. By such means, and 
the practice of weaving round upon 
an upright loom, all the varieties of | 
habiliments exhibited in the course of j 
these pages could be produced. 

SARCINA'TRIX (a K 4crT Pl a). A 
female who exercises the same trade as 
the sarcinator, that of mending and 
repairing garments. Varro, ap. Non. 
s. v. p. 56. Cajus, Dig. 15. 1. 27. 

SARCIN'ULA. Diminutive of 
Sarcina. 

SARCOPHAGUS (*ap K ocpdyos). 
Literally carnivorous, whence the 
name was given to a particular kind 
of limestone quarried at Assos in j 
Troas, and remarkable for possessing 
the peculiar power of consuming or 1 
eating away the flesh and bones, with 
the exception of the teeth, of a body 
enclosed within it, in the short period j 
of forty days. - (Plin. H N. xxxvi. j 
27.) On account of this property it j 
was extensively employed for making 
coffins, when the corpse was buried 
entire without burning ; and thence 
the term came to be used in a general 
sense for any kind of coffin or tomb; 
without regard to the materials of 
which it was made. Juv. x. 172. 

SARCULA'TIO. The act of 
hoeing or earthing ar/ round the roots 
of young plants and crops with the 
sarculum. Pallad. iii. 24. 6. 

SAR'CULUM and -US (aka\is). 
A hoe, of a lighter and smaller 
description than the ligo ; employed 
chiefly for weeding in fields and gar- ! 



dens (Plin. H.N. xviii. 65. § 2. Id. 
xix. 33. Columell. ii. II. 10.) ; and 
in mountain districts, where the soil is 
usually of little depth, and the in- 
equalities of surface forbid the use of 
a plough, the sarculum was employed 
instead of that implement. (Plin. 
H. N. xviii. 49. § 2.) The example 




is copied from a.Roman bas-relief re- 
presenting a race' in the circus ; and 
an accessory of the same kind is com- 
monly introduced by the ancient 
sculptors in scenes of this description, 
where it was used for hoeing out a 
trench across that part of the arena 
in which athletic contests were con- 
ducted, as explained s. SCAM-MA. 

2. Sarculum bicome (Pallad. i. 43. 
3.). A two-pronged hoe, specially 
called Bidens ; where see the illus- 
tration. 

SARIS'SA ((rSpiaaa). A pike 
peculiar to the infantry of the Mace- 
donian phalanx (Li v. ix. 19.), of pro- 
digious length (Id. xxxviii. 7. ), not 
less than 18 or 20 feet (Polyb. xviii. 
12.), and of a similar description to 
the contus, only much longer (Veg. 
Mil. iii. 24. ). A proximate notion of 
the general character and dimensions 
of this weapon, the longest and most 
pondeious of the class of spears in use 
amongst the ancients, maybe obtained 
by referring to the figure of the contus 
carried by Alexander at p. 200. 

SARISSOPH'ORUS (aapiaao- 
(popos). " Armed with the sarissa ; a 
title given to the soldiers who formed 
the Macedonian phalanx, to whom 
that weapon was peculiar. Liv. 
xxxvi. 18. Curt. iv. 15. Polyb. xii. 
20. 2. 

S ARRA'CULUM. Ammian. xxxi. 
2. 18. Diminutive of 

SARRA'CUM. A particular kind 
of wagon or cart, of foreign origin, 
but adopted into Italy (Sisenn. ap. 
Non. s„ Cam, p. 195. Capitolin. 



SARRACUM. 



SATRAP A. 



575 



M. Antonin. 13.), where it was com- 
monly employed by the agricultural 
population as a conveyance for them- 




selves and families (Cic. Fragm. in 
Pis. ap. Quint, viii. 3. 21.), and for 
transporting the produce of their 
farms to market. The circumstance 
of its being mentioned by the Roman 
authors in connexion with the plaus- 
trum (Juv. iii. 254.), or as a quasi 
synonyme with it (Id. v. 23. Vitruv. 
x. 1. 5.), indicates that it must have 
had considerable resemblance to that 
particular conveyance, though at the 
same time possessing some difference 
from it; which forms the inducement 
for proposing the , figure exhibited by 
the annexed illustration as a genuine 
example of the sarracum. It is copied 
from a painting representing a group 
of country people in the market-place 
of Herculaneum, and possesses two 
principal qualities which characterize 
a - genuine plaustrum, viz. a thick 
platform of boarding placed upon a 
pair of solid wheels {tympana) instead 
of radiated ones {rota), but differs 
from it in the essential particular, 
.that it has a regular body with close 
Asides affixed to the platform instead 
of a mere basket placed upon it, or 
an open railing, or nothing at all, as 
was usual with that kind of wagon, 
and will be perceived by referring 
Jo the article and illustration s. 
Plaustrum. But if the body of this 
vehicle was removable, it would be 
well adapted for the transport of scaf- 
folding poles and timbers for build- 
ing, in accordance with the laniruaeeof 



Juv. /. c, by coupling several of the 
trucks together, in which sense the 
words of Seneca — pinus et abies defe- 
rebaiur, longo ve/iiculorwn ordine, 
vicis intrementibtis — {Ep. 90. ) may be 
understood. 

SARRI'TIO or SARI'TIO. The 
act of hoeing out weeds from young 
plants and crops. (Columell. ii. 11. 4. 
Plin. //. N. xviii. 50. ) It was per- 
formed with the sarculum ; but differs 
from sarculatio, which expresses the 
hoeing up of earth to the plant ; and 
from rnncatio, which expresses the 
weeding and thinning with the hand 
and the instrument termed runco. 

SARRI'TOR or SARI'TOR. A 
labourer who performs the sarritio, 
as just explained. Columell. xi. 13. 1. 

SARRITU'RA. Same as Sar- 
ritio. 

SARTA'GO {ri)yavov) 

■ utensil, believed to be 
the same as our frying- 
pan, of which an ex- 

! ample is afforded by the 

j annexed illustration from 

j an original of bronze, dis- 
covered at Pompeii. Plin. 

j H.N.xwi.22. Juv. x. 64. 

SAR'TOR (from sarcio). Same 
as Sarcinator. Non. s. v. p. 7. 
2. (from sarrio.) Same as Sar- 
! RITOR. Plaut. Capt. iii. 5. 3. 

SAT'RAPA, SAT'RAPES, and 
j SATRAP'S {(xarpd-n-ns). A satrap; 
I i. e. a Persian officer of 

high rank, who acted in 

the capacity of governor 

of a province, or viceroy 

for the king. (Quint. 

Curt. iii. 13. Nepos, 
Con. 2.) One of the 

distinctive badges of 

these personages consist- 
ed in the right of wear- 
ing a tall, stiff, upright 

cap {tiara recta), which, 

as being worn by the 

annexed figure, from a 

Persepolitan sculpture, 

induces the belief that it represents 

an officer of the quality described. 





576 



SAVANUM. 



SCABELLUM. 



SAVANUM. See Sabanum. 

SAVIL'LUM or SUAVIL'LUM. 
A „sort of pudding, made of flour, 
cheese, eggs, and honey, and served 
up to table in the vessel in which it 
was cooked, like our puddings in a 
pie-dish. Cato, R. R. 84. 

SAXUM QUADRATUM. A 
rock of volcanic formation, termed 
by the Italian geologists " lithoid 
tufo " {tufo litoide), the same as that 
which forms the basis of the Capito- 
line hill, and which received the 
name from the rectangular masses 
into which its natural fissures divide 
it. All the earlier buildings ascribed 
to the legendary period of the kings, 
the underground dungeon of Servius 
Tuilius, the Cloaca Maxima, and the 
substructions of the Capitolium, are 
built of this material, which in fact 
was the only one in use until the 
introduction of the Appian andGabian 
stone, now designated by the name of 
peperino. It is consequently this 
which Livy designates by the name 
of saxum quadratum (vi. 4.), when 
speaking of the foundation of the 
Capitoline temple ; and the same 
material is intended (x. 23. ) when he 
says that the road from the Porta 
Capena to the temple of Mars was 
paved saxo quadraio ; not that the 
stones were regularly squared, like 
ashlar, since the Romans always em- 
ployed polygonal blocks for road 
paving (see the article and illustration 
s. Via), but that the material used 
was lithoid tufo, instead of silex, 
which in his time was the usual one. 
Brocchi, Suolo di Roma. 

SCABEL'LUM. Diminutive of 




1 




square stool, forming but one step, 01 
consisting of a single height (Varro, 
L. L. v. 168.), employed as a bed- 
step, when the bedstead was not a 
very high one (Varro, /. c. ), as shown 
by the annexed illustration from a 
Roman bas-relief. 

2. (v-kottoIlo!/). A foot-stool, of 
similar character, placed before a 
chair or seat for the feet to rest upon as 





SCAMUXIM (Quint, i. 4. 12.) ; a small 



in the annexed example from a Pom- 
pei m painting. Isidor. Orig. xx. 1 1 . 8. 

3. {Kpovn^ia). A musical instru- 
ment ; consisting of a very thick- 
soled wooden shoe 
(Pollux, vii. 87.) 
with a deep fissure 
under the toes, 
which, when yield- 
ingto the pressure of 
thefoot, emitted cer- 
tain notes from a 
small machine of me- 
tal (compare Lucian, 
Salt. 83.) placed between its upper 
and lower surfaces. It was worn by 
the pipe-player (tibiceri) at the theatre 
(Pollux, x. 153.) ; and was especially 
used to give notice of the commence- 
ment and termination of an Act (Cic. 
Ccel. 27.) ; to beat the time, and 
make an accompaniment with other 
instruments. (Suet. Cal. 54. August. 
de Mus. 3. ) Although some doubts 
are entertained respecting the accu- 
racy of the interpretation here given, 
yet the numerous remaining repre- 
sentations of a contrivance similar to 
the one exhibited by the woodcut, from 
an ancient marble statue, and the cha- 
racters by whom they are used, afford 



SCABELLUM. 



SCAL/E. 



577 



very strong evidence of its correct- 
ness. A terxa-cotta of the British 
Museum shows a figure by the side 
of a wine-vat playing on the double 
pipes (tibice pares) while he beats 
time upon an instrument similar to 
the one engraved ; a marble sarco- 
phagus published by Visconti (Mus. 
Pio Clem. v. tav. C. ) exhibits a female 
playing the Phrygian pipes {tibia Pkry- 
gia) and beating time upon a similar in- 
strument ; and a female statue of the 
Capitol [Mus. Capiioiin. iii. 36.) has 
the same contrivance under her foot. 

SCA'L^ («rAi>a|). A ladder ; or 
machine for ascending ( from scando), 
but used in the 
plural because it 
was composed 
by a number of 
separate steps, 
arranged one 
over another 
and between two 
uprights, in the 
same manner as 
practised at the 
present day. 
(Sail. Plin. Caes. 
Tac. Ov. Virg. 
The illustration 
represents one of the Roman soldiers in 
Trajan's army carrying a scaling lad- 
der for the assault of a Dacian fortress. 

2. A ship's ladder, of the same con- 
struction, but carried on board, and 
let down from the sides of the vessel 
when required for the convenience of 





embarkation or disembarkation, as 



in the annexed example from an 
ancient fresco painting discovered at 
Rome (Virg. sEn. x. 653. Liv. 
xxvi. 45.); whereas the pons, or 
shifls bridge, was a mere plank, 
thrown out from the deck or side of a 
small vessel in a horizontal position 
to the top of a quay, or any promi- 
nence on the shore of corresponding 
height with the vessel itself, as shown 
by the illustration s. Pons, 5. 

3. A staircase, conducting from 
the bottom to the upper stories of a 
private house or other edifice. The 
ancient builders formed their stair- 
cases much in the same way as the 
modern ones, either by fixing them 
against a wall in the interior, so as to 
leave one side open, like the ordinary 
stairs of private houses in England, 

I or on the exterior of the' building 
i (Liv. xxxix. 14.), as is still a com- 
mon practice in Italy ; or they en- 
closed it altogether by side walls, like 
a staircase formed in the thickness of 
a wall, so -that the person ascending 
or descending was concealed from 
the view of all others above and be- 
low, excepting only such as happened 
to be uponthe same flight with himself. 
These were specially termed Greek 
staircases (scales GrcEcce, Yitruv. ix. 
Prcef. 7. Aul. Geil. x. 15. Serv. 
ad Virg. sEn. iv. 646. ), and from the 
nature of their construction would of 
necessity be dark and generally nar- 
row, which explains the reason why 
the staircase is so often mentioned as 
a hiding-place (Cic. Mil. 15. Id. 
Phil. ii. 9. Hor. Ep. ii. 2. 15.); a 
notion so much at variance with 
modern usages, by which the stairs 
are the most open and public parts of 
the house, that the commentators 
upon all the passages cited, from not 
being acquainted with the construc- 
tive peculiarity just described, are 
reduced to the expedient of miscon- 
struing their authors by substituting 
one preposition for another, as if the 
person took refuge under the staircase 
instead of upon it. 

4. At a much later period the same 

2 O 



578 SCALMUS. 



SCALP RUM. 



word appears to have been em- j 
ployed to designate a pair of stir- 1 
nips ; being first met with in a 
treatise on the art of war written 
by the Emperor Maurice at the end | 
of the sixth century. It is sufficiently 
ascertained that the pure Greeks and 
Romans did not ride upon regular 
saddles, made like our own upon a 
tree (see Sella equestris), but only 
upon pads {ephippia). Consequently, 
as stirrups were not used until the 
regular saddle was invented, the word 
is not to be regarded as pure Latinity 
in this sense, nor as characteristic of 
really ancient manners, but as one 
adopted during the period of transi- 
tion from ancient to modern times. 
Mauricii, Ars Mil. ed. Job.. Scheffer, 
Upsal, 1664. p. 22. and lib. ii. cap. 8. 
p. 64. Beckman, History of Inven- 
tions, Article "Stirrups." 

SCAL'MUS {(TKaKfxds). The 
thowl ; a strong wooden stay on the 
inside of a vessel to which the oar 
was attached by means of a thong 
{struppus) to keep it firm and steady 
in rowing. (Cic. Brut. 53. Id. Or. i. 




38. Vitruv. x. 3. 6.) Being inside 
the vessel, this object is not apparent 
in any ancient work of art ; but there 
can be no doubt that it was formed in 
the same way as in the Mediterranean 
galleys of the 16th century, from 
which the example annexed is taken. 

SCALPEL'LUM and -US 
{(rfxiXiov). Diminutive of SCALPER 
or Scalprum. A small sharp sur- 
gical knife, employed for cutting 
away the proud flesh round a wound 
(Columell. vi. 32. Plin. H. N. xxviii. 
28. Cic. Sext. 65.) ; and for opening 
veins to let blood. (Cels. ii. 10.) 

SC ALTER. Same as 

SCAL'PRUM (oyuATj, KoXairTyp). 
A sharp, cutting instrument, em- 




ployed by artists and mechanics for a 
variety of purposes, and belonging tc 
the class which we denominate chisels 
or celts (Isidor. Orig. xix. 19. 13.); 
that is, which are driven with a 
mallet, or, when applied for cutting, 
are thrust from the person using 
them, instead of being drawn towards 
him ; though the name was also given 
to several other instruments ordinarily 
used for cutting, as explained in the 
subsequent paragraphs. 

1. Scalprum fab?'ile. A common 
chisel, driven by a mallet (Li v. xxvii. 
49. malleo adactum) of the 
same description with 
those still in use, as 
shown by the annexed 
examples, both from 
originals in the British 
Museum ; the left hand 
one being formed to re- 
ceive a wooden handle, like those 
used by carpenters, the other entirely of 
metal, like those used by stonemasons. 

2. A leather-cutter's, or shoe- 
maker's knife (Hor. Sat. ii. 3. 106. 
Jul. Pollux, vii. 83.) ; 
of the same form as 
those used for similar 
purposes in our own 
times, as shown by the <f 

annexed example, from 

an original found at Pompeii. 

3. An instrument employed 
surgeons (Jul. Poll, iv 
for opening wounds, 
and cutting away parts 
of the diseased flesh 
(Celsus, viii. 3. and4-); 
for which purpose the 
annexed example from 
an original found in 
a surgeon's shop at 

Pompeii, is supposed by medical men 
to have been intended. 

4. A pen-knife ; used by the tran° 
scribers and copyists (//- 
brarii) in the employ 
of private individuals or 
of booksellers, for tem- 
pering the reed pen 
arundo, calamus), with 



by 
141.) 



SCALP TOR. 



SCAM NUM. 579 



which an ancient MS. was written. 
(Tac. Ann. v. 8. Suet. V.'L'll. 2.) 
The example is from an original ex- 
cavated at Rome ; the handle is of 
bone, into which the blade is made 
to shut, precisely in the same manner 
as now practised. 

5. A particular part of the vine- 
dresser's pruning hook (falxvinitoria) 
situated between the sinus and the 
rostrwu, as will be understood by re- 
ferring to the article and illustration 
s. Falx, 5. Columell. iv. 25. 1. 
Plin. H. N. xvii. 26. 

SCALFTOR. An artist wno 
executes with the chisel (scalfirum), 
as in the annexed illustration from 
an engraved gem found at Pompeii, 
which represents an artist at work 
upon a marble vase. Scholars differ 




greatly in opinion respecting the ac- 
curate meaning of the two words 
Scalptor and Sculptor ; some consider- 
ing them to be purely synonymous 
(B. Crusius, Clavis Suet. s. Scalper e) ; 
others that the first designates an en- 
graver of gems only, the latter a 
sculptor of marble (Erresti ad Suet. 
Aug. 50. Nero, 46.) ; others that 
the scalptor means an artist who exe- 
cutes coarser or commoner kinds of 
work than the sculptor (Oudendorp, 
ad Suet. Galb. 10.); and others leave 
the matter in doubt as one which 
cannot be decided. (Bremi ad Suet. 
Aug. 50. Heindorf. ad Hor. Sat. 
ii. 3. 22.) Thus the term is used to 
designate a gem engraver (Plin. H. A'. 
xxxvii. 15. scalptor gemmaruni) ; a 
sculptor (Id. xxxvi. 5. scalptor mar- 
morum) ; and an artist who makes 
the dies for coins. (lnscript. ap. 



Marin. Iscriz. Alb. p. 109. scalptor 
tnonetce. ) 

SCALPTO'RIUM. An instru- 
ment made in the form of the human 
hand for scratching any part of the 
person not otherwise easily accessible. 
Mart. xiv. 83. 

SCALPTURA'TUS. Engraved 
with the chisel {scalprum). 

2. Pavimentum scalpturatum. See 
Pavimentum, 5. 

SCAM'MA (aitdnna). A Greek 
word signifying literally that which is 
dug, as a trench or ditch ; thence a 
ring in the gymnasium, within which 
the wrestlers contended, because it 
was defined by a small trench scraped 
in the sand, to mark the limits beyond 
which no competitor was permitted 
to retreat. (Cael. Aurel. Tard. ii. I. 
Polyb. xl. 55.) Amongst the Ro- 
mans, athletic contests were exhibited 
in the broad end of the circus ; which 
explains the otherwise unaccountable 
introduction of two accessories com- 
monly met with in bas-reliefs repre- 
senting the Circensian games, viz., a 
hoe {sarculum), and a basket of sand 
(haphe), the former being used to 
make the ring, the latter to sprinkle 
over the bodies of the wrestlers. 

SCAMNA'TUS (sc. ager). See 

SCAMNUM, 

SCAM'NUM A bed-side step or 
I stool (Ov. A. Am. ii. 211.), of an 
intermediate size between the sca- 
bellum and gradus (Varro, L. L. v. 
168.), which was used when the bed 




stead was of a middle size, between 
the highest and lowest. (Isidor. Orig. 



5 8o 



SCAM NUM. 



SCAPHA. 



xx. ii. 8.) Hence the expression 
scandere ledum, means strictly to get 
into bed by the assistance of this 
contrivance. The example is taken 
from a bas-relief ; the legs upon 
which the stool is raised indicate the 
increased height, serving the purpose 
of an extra step, and if compared 
with the illustrations s. ScABELLUM, 
I. and Gradus, i. will at once 
demonstrate the accurate distinctions 
between those three words and the 
objects expressed by them. 

2. A foot-stool ; of a higher and 
consequently more dignified character 
than the com- 
mon one (sca- 
bellum, sappe- 
daneuni), con- 
sisting of a 
double step, so 
that the feet 
could rest at 
different ele- 
vations, as in 
he annexed il- 
lustration, from 
in which it is appropriately placed 
under the feet of Jupiter to indicate 
the majesty of the god, and the 
grandeur of the throne on which he 
sits. The epithet cavum, the hollow 
foot-stool, applied by Ovid {A. Am. 
i. 162.) to this object may be in- 
tended to describe the incavation 
formed by cutting away the step in 
front, as in the present example ; or 
to its being actually hollow under- 
neath, like the preceding specimen. 

3. A seat formed with a step be- 




HL__ 

marble bas-relief, 




peian painting. It is this property 
I which, accurately speaking, consti- 
tutes the difference between a scam- 
\ num and a subsellium : though the 
distinction is not strictly preserved. 
Ov. Fast. vi. 305. Mart. v. 41, 

4. In the technical language of the 
agricultural people, a balk, or long 
line of earth between two furrows 
left unbroken by the plough (Colu- 
mell. ii. 2. 25. Plin. H. N. xviii. 49. 
§ 2.); also a tract of the same cha- 
racter left between the ridges that are 
made withthehoe. Columell. iii. 13.2. 

5. In the technical language of 
land-surveyors (agrimeusores), the 
breadth of a field, as opposed to 
striga, its length. Auct. R. Agrar. 
pp. 46. 125. 198. ed. Goes. 

SCAN'DULA or SCIN'DULA. 
(<rxt5a£). A shingle ; i. e. a small 
board about a foot long, employed in 
early times instead of tiles for cover- 
{ ing the roof of a house. Shingles 
I continued to be commonly used at 
Rome until the period of the war 
with Pyrrhus, and may still be seen 
in different parts of Europe, and 
as protections for the roof or spire in 
many old English churches. Plin. 
H. N. xvi. 15^ Pallad. i. 22. 

SCANDULA'RIS. Made or 
covered with shingles (scaudulcz). 
Apul. Met. iii. p. 54. 

SCANDULA'RIUS. One whose 
business consists in laying a roof 
with shingles {scanduhe). Arcad. 
Dig. 50. 6. 6. 

SCANSO'RIA MACHINA 
(ctKpo&aTiKV jjirixwh)- A scaffolding 
for working upon at any elevation 
above the ground. Vitruv. x. 1. 1. 

SCAPH'A {(TKOLcp-n). A skiff, cutter, 
long-boat, or jolly-boat, carried on 




low for the feet to rest urjon, as in 

•the annexed example from a Pom- board larger vessels, to be lowered 



SCAPHE. 



SCAPUS. 



581 



and used as occasion required. (Ca?s. j 
B. C. iii. 24. Cic. Inv. ii. 79. Pet. 

10 1. 7.) The modern name of | 
skiff, which appears to retain the j 
elements of the ancient term, and 
designates a form of boat precisely \ 
similar to the one exhibited by the j 
annexed wood-cut, from a Pompeian j 
painting — that is, with a broadish 
body, sharpish head, and small flat 
stern, — favours the conjecture that 
it affords a genuine specimen of the 
model designated by the term scapha ; 
but even if that be doubtful, the ex- 
ample is in every respect worthy of 
attention, as one of the very few 
remaining illustrations of ancient ship | 
or boat building, which affords a 
practical model, with correctness of \ 
form and detail, instead of the usual 
imperfect and conventional style of 
representation, so generally adopted j 
by the ancient artists when treating j 
marine subjects. 

2. A smaller boat, constructed upon | 
the same model as the preceding, but 
rowed only by a pair of oars (Hor. \ 
Od. iii. 29. 62. biremis scapha), and 
employed for river and coasting oc- 
cupations, such as fishing (Justin, ii. 
13. piscatoria scapha), &c. 

SCAPH'E (Vitruv. ix. 8.). Same 

as SCAPHIUM, 2. 

SCAPH'IUM (atcdtpiov). A vessel I 
of small dimensions and Greek in- 
vention, employed at the dinner table 1 
as a wine cup. It was sometimes 
made of silver (Phylarch. ap. Athen. 

iv. 21.), and elaborately ornamented 
as an object of luxury (Plaut. Stick. 

v. 4. II. Cic. Verr. ii. 4. 17.); 
and appears to have belonged to the j 
same class of utensils as the patera or 
phiala, since Plutarch {Agio 1 , et Cleom. \ 
p. 811.) uses the latter term to desig- : 




nate the same vessel which is called 
scaphium by Phylarchus (Athen. /. c. ). 
Perhaps the real distinction between 



these words consisted in this, that 
when the cup was a mere saucer with- 
out any handle, it was called a patera 
by the Romans, and phiala ((ptaAr?) 
by the Greeks ; when furnished with 
a projecting handle, like the annexed 
example from an original found at 
Pompeii, (which gives to the whole 
object a certain similitude to the boat 
scapha, after which it was named,) 
then it received the special name of 
scaphium and (ruacpiov. The same 
article is also enumerated amongst 
the necessaries of a woman's dressing- 
room (Juv. vi. 263. Ulp. Dig. 34. 
2. 28.), but for what particular pur- 
pose is not mentioned. 

2. A sun-dial, formed by a hollow 
circular vessel, 
within which the 
hour lines were 
drawn (Mart. 
Capell. vi. 194.), 
as in the example 
from a statue 
formerly existing 
at Ravenna. It 
received the pre- 
sent name from 
its resemblance 
in form to the 
bowl of the last- 
engraved utensil, 
but was also termed hemisp/uzritim, 
from its affinity with that figure. Vi- 
truv. ix. 8. 

SCAPH'ULA {(TKacpiZiov). Dimi- 
nutive of Scapha. Veg. Mil. iii. 7. 

SCA'PUS (aicanos). In its primary 
sense means an object upon or by 
which any other thing supports itself, 
as the stalk of a plant, for instance, 
which supports the head and blos- 
som ; the notion obtaining from the 
primitive sense of the Greek word 
0-/C7/7TTW, "to prop or support oneself 
by a staff." This root, irom which 
the Latin form is derived, also fur- 
nishes an appropriate meaning for the 
following special and technical appli- 
cations of the term. 

1. The shaft of a column; which 
supports' the capital {capitulum) and 




SCAPUS, 



rests upon the base {spira). The top 
of the shaft directly under the capital 
is distinguished by the expression 
summits scapus ; the bottom of it, 
just above the base, by that of imus 
scapus. (Vitruv. iii. 5.) All these 
parts are sufficiently displayed by 
the left-hand figure in the annexed 




seen on the right side of the annexed 
wood- cut, which exhibits an ancient 
marble door-case, with the original 
valves of bronze, now standing at 
Rome ; but represented in the draw- 
ing for the purpose of illustration, 
as it would appear if that portion of 
the ornamental facing {autepagmen- 



wood-cut, representing the column of 
Trajan at Rome. 

2. The shaft or pillar which sup- 
ports one end of each stair in a stair- 
case (Vitruv. ix. Prcef. 8.), as shown 1 
by the right-hand figure of the above 
wood- cut, representing the internal 
construction of the same column. 

3. The stile of a door ; that is, the 
vertical piece on each side of the 
valve, into which the transverse pieces 
or rails {inipages) are mortised 
(Vitruv. iv. 6. 5.) ; exhibited by the 
four uprights decorated with bosses 
in the following illustration, represent- 
ing an ancient door of bronze now 
belonging to the church of S. Theo- 
dore at Rome. 

4. Scapus cardinalis ((Trpocpryl). 
The main stile of a door which carried 
the pivots (cardines), by which each 
leaf is kept in an upright posi- 
tion, when not fixed with hinges 
(ginglymi), and made to revolve as 
the pivots turned in a socket exca- 
vated in the sill and lintel respec- 
tively. (Vitruv. iv. 6. 4.) It is 




turn), which conceals it on the oppo- 
site side, were removed. 

5. (kcivAos). The shaft or stem of 
a lamp-stand {candelabrum)', that is, 
the portion between the . r -_^ 
base or foot upon which 
it rested, and the capital 
or flat tray {superficies) 
at the top, on which the 
lamp was placed. (Plin. 
H. N. xxxiv. 6.) The 
use of the term also 
implies that a tall 
and slender shaft, like 
the stalk of a plant, is 
alluded to. It was in- 
tended to stand upon 
the ground, and conse- 
quently made of consi- 
derable height, in order 
that the light might be raised to a 
convenient elevation for illuminating 
the chamber ; and for this purpose, 



SCELETUS. 



SCENA. 



5*3 



the stem of the example here intro- 
duced, from an original found at 
Pompeii, is made to draw out from 
the mouldings observable on it, in the 
same manner as a telescope. 

6. The beam of a steelyard (sta- 
tera, Vitruv. x. 3. 4. ), as contradis- 
tinguished from Jugum, the yoke of a 

, „_ A 

balance {libra). The example is from 
a bronze original found at Pompeii. 

7. A wooden cylinder round which 
books and paper were rolled, as maps 
now a?e. Plin. H. N. xiii. 23. 

8. The yarn-beam of a weaver's 
loom, to which the threads of the 



1 




j 


piiii I 


uisiiiilJL 


rJ L, 









warp {stamen) are fastened, and situ- 
ated at the opposite extremity to the 
cloth-beam {insubulum). It is seen 
in the illustration, from an Egyptian 
painting, at the bottom of the warp, 
attached by a sliding brace at each 
end to the two uprights of the loom, 
and is termed "noisy" (Lucret. v. 
1352. sonaHs), either because weights 
were sometimes fastened under it to 
keep the warp on the stretch, and 
which would rattle against each other 
when shaken by the strokes of the 
batten {spat ha), in driving home the 
weft, or from the noise of the braces 
as they played against the uprights 
under the same process. 

SCEL'ETUS (o-/ceAeT(fs). Literally 
dried or parched up like a mummy 
(Apul. Apol. pp. 504. 507.) ; not a 
skeleton in our notion of the word, for 
that was termed larva. 



SCE'NA ((tkt]v}]). The scene of 
an ancient theatre ; under which name 

I were included the stage on which the 
actors performed, and the scenes, and 
side-scenes, as we now distinguish them. 
The first of these consisted of a per- 
manent wall at the back of the stage, 

; with three doors ; one in the centre, 




j through which the chief actor en- 
j tered, termed valves regice, and two 
j lateral ones hospi tales (Vitruv. v. 6. 
8.), all of which are distinctly 
marked on the illustration, which 
exhibits the scena of the great theatre 
at Pompeii in its present state. The 
j movable side-scenes were adapted for 
: the representation of any particular 
locality, in which the action of the 
! piece was supposed to take place, and 
1 were distinguished by the epithets 
versatiles and ductiles (Serv. ad Virg. 
Georg. iii. 24.), accordingly as they 
were constructed to turn round on a 
pivot, or to slide forward in a groove. 

SCE'NA or SACE'NA. - An old 
Latin name for the double-edged 
hatchet, employed in killing the 
victim at a sacrifice, having the broad 
blade of an axe {securis) on one side, 
and the small cutting edge of the 
dolabra on the other, as exhibited 




by the annexed specimen from a bas- 
relief of the Villa Borghese. Festus 
observes {s. v.) that the scena was 
evidently a cutting instrument {genus 
cultri), but whether belonging to the 
class of secures or dolabra- was to him 
a matter of doubt. Vet the passage 



584 SCEtfOGRAPHIA. 



SCEPTRUM. 



which he quotes from Livius Andro- 
nicus — corruit, quasi ictus scena — 
evidently expresses an instrument 
which dealt out a blow rather than a 
gash or stab, precisely such as would 
be inflicted by the figure exhibited in 
the wood-cut ; and the uncertainty 
entertained respecting the actual cha- 
racter of the instrument is accounted 
for by the fact of its possessing both 
the qualities mentioned, that of cut- 
tifivas well as striking. 

SCENOGRAPH'IAlcr/cTj^pa^t'a). 
The perspective draught of a building, 
&c, as it really appears to the eye of 
a spectator, and would be represented 
in landscape or scene painting (Vi- 
truv. 1, 2, 3. ) ; and as contradistin- 
guished from the geometrical draught 
[orthographia), which represents the 
same as it would appear if it could be 
viewed from an infinite distance. It 
has been said that the ancient draughts- 
men were not acquainted with the 
art of linear perspective ; and the 
numerous errors observable in the 
architectural and landscape scenes 
amongst the Pompeian designs are 
referred to in corroboration of that 
opinion ; but it must be remembered 
that the artists who executed those 
works were merely provincial house- 
painters and decorators, of unequal 
merits, some of whom were certainly 
deficient in this respect ; but the in- 
tricate and accurate designs of many 
amongst them, evince, on the other 
hand, a perfect knowledge of per- 
spective. There is, consequently, no 
sufficient reason for doubting the 
genuineness of the term, nor for alter- 
ing the reading in the above passage 
of Vitruvius, as some commentators 
propose. 

SCEP'TRUM {cTKvtrrpov). Strictly 
a Greek word, for which the Romans 
frequently use another form of the 
same Greek root, scipio ; though both 
words bear a very similar significa- 
tion. The original sceptrum was a 
long staff, like the shaft of a spear 
(Justin, xliii. 3. ), formed from a 
sapling or young tree, cut down to 



the roots ( Virg. JEn. xii. 206. ), which 
in early times served for a support in 
walking, while its imposing length 
gave an air of importance to the per- 
son who bore it, as is well exemplified 
by the illustration, which represents 
Agamemnon with a staff of the nature 




^31 



described, from a bas-relief of Greek 
workmanship. 

2. A sceptre ; the emblem of royal 
authority (Cic. Sext. 57.) ; conse- 
quently ascribed to 
Jupiter (Suet. Aug. 
94.), Juno, kings, 
and actors on the 
stage (Plin. H. N. 
xxxvii. 6. ) who 
personated them ; 
and which, in its 
original form, was 
nothing more than 
a long staff, like 
the preceding one, 
converted into an 
ornament of state 
by the addition of 
a decorative head-piece, like the ex- 
ample annexed, representing Latinus 
in the Vatican Virgil. 

3. Sceptrum eburneum. An ivory 
sceptre ; especially the royal sceptre 
introduced at Rome by the kings of 
the Etruscan dynasty, and subse- 
quently appropriated to themselves 
by the consuls of the republic. (Serv, 
ad Virg. ALn. xi. 238.) This was 




SCEPTUCHUS. 



SCHCENIC UL^. 585 



much shorter than the primitive 
Greek sceptre, as is shown by the an- 
nexed example, from an engraved 
gem, representing Porsena sitting in 
judgment upon Mucius Scsevola; and 
is more commonly designated by the 
Latin word scipio, instead of the 




sented by the annexed figure from 
one of the sculptures of Persepolis. 
Tac. Ann. vi. 33. Xen. Cyr. vii. 3. 




purely Greek one sceptrum. Liv. v. 
41. Val. Max. iv. 4. § 5. 

4. Sceptrum Augusti. (Suet. Galb. 
I.) The i7nperial and triumphal 
sceptre ; which was not identical with 
the regal and 
consular ones, 
but was decorated 
with the figure 
of an eagle on 
the top (Juv. x. 
43.), and was 
carried by a vic- 
torious general 
at his triumph, during the republican 
period, as well as by the emperors 
generally under the empire, as shown 
by the annexed example, representing 
Antoninus, from the base of the 
column erected in his honour. 

SCEPTU'CHUS {(TK-nTTrovxos). 
A' high officer in the Persian court, 
so termed from the sceptre which he 
bore as a badge of office, as our own 
titles of "gold and silver stick," or of 
"black rod," have arisen from like 
causes. He was generally, if not 
always, a eunuch, though regarded as 
a personage of consideration, having 
the command over some province 
assigned to him ; but his costume 
and badges are believed to be repre- 




17. viii. I. 38. 

SCHEDA or SCIDA {<r X i5v). A 
strip cut from the inner bark of the 
papyrus, and used for the purpose of 
making sheets of paper to write books 
upon ; which was effected in the fol- 
lowing manner. The inner skin was 
first peeled off in thin coats {philyrce) 
of the largest size which could be 
obtained without flaws or fractures. 
These were cut into strips {schedce), 
and glued together by their largest 
sides, to form the writing surface ; 
the back part being strengthened by 
other strips stuck on in a transverse 
direction, to prevent the paper from 
splitting up in the direction of the 
' fibres. One row of strips thus pre- 
pared and joined together was called 
a length or a breadth (plaguld) ; a 
certain number of which were then 
I glued together into one large sheet to 
j make a book or roll {liber, volumen). 
Plin. H. N. xiii. 23. Hence the 
word is frequently used in the seme 
j of a leaf, a single piece of paper, or 
the fractional part of a sheet, like our 
page. Cic. Att. i. 20. Quint, i. 8. 
19. Mart. iv. 91. 

SCHCENIC'UL^. Women who 
perfumed themselves with a very 
coarse and common kind of ointment, 
manufactured from a species of rush 
{sclmnns), possessing odoriferous pro- 



586 SCHCENOBATES. 



SCIRPICULA. 



perties ; intended as a contemptuous I 
nickname. Festus s. v. Varro. L. L. 
vii. 64. Compare Plaut. Poen. i. 2. 
58. schceno dehbutas. 

SCHCENOB'ATES^xoifojSeiTrjs). 
A Greek term for a rope-dancer (Juv. j 
iii. 77.) ; for which the genuine Latin j 
expression is Funambulus. 

SCHOL'A (oxohh). Literally j 
means rest from bodily labour, which I 
affords an opportunity for mental ! 
recreation or study ; whence . the 
term is transferred to the place where j 
teachers and their pupils assemble ! 
fur the purpose of instruction, our j 
school (Cic. Or. ii. 7. Suet. Gramm. I 
16. Auson. Idyll, iv. 6., and Lu- \ 
DUS) ; and to a room in which phi- j 
losophers and literati assemble toge- 
ther for conversation and discussion. 
Plin. H. iV. xxxv. 37. xxxvi. 4. £ 5. 

2. Schola alvei. Schola labri. The j 
vacant space on the floor of the ther- 
mal chamber (caldarium) in a set of 
baths, which surrounds the warm ! 
water bath {alveus) ; or the circular 
basin (labrum) situated at the oppo- j 
site end of the room, where the 1 
bathers, who were waiting to use ! 
either of these vessels, might sit or ■ 
stand until their turn came. (Vitruv. 




In the annexed illustration, repre- 
senting the circular end of the ther- 
mal chamber in the baths at Pompeii, 
with its labrum in the centre, the 
schola labri is the passage round the 
basin ; and a reference to the wood- 
cut j-. Labrum, i., which exhibits thf. 
bathers standing round the vessel, will 
further elucidate the matter, by show- 
ing how that vessel was occupied by 
one set of bathers, while the others 
were compelled to stand by until 
they could find a vacant place at 
their disposal. 

SCIMPOD'IUM ((tki^lov). A 
small couch or sofa, of Greek inven- 
tion ; or, rather, an invalid's chair, con- 
structed so as to support the legs and 
feet in an easy position, like our gouty 
chair, for it was used by persons sub- 
ject to that complaint during an access 
of the malady. Aul. Gell. xix. 10. 1. 

SCIN'DULA. SeeScANDULA. 

SCIOTHE'RICON (aKtodyptKhv). 
A term coined from the Greek lan- 
guage (Plin. H. N. ii. 78.), for which 
the Latins use Solarium. 

SCPPIO (o-kjW). A staff and a 
sceptre ; applied in the same sense as 
Sceptrum ; both words being only 
different forms from the same Greek 
root aKrjnrw. 

SCIR'PEA or SIR'PEA. A large 
basket made of rushes {scirpus) platted 
together, and employed more espe- 
cially to form the body of a wagon 
{plattstrum) used for agricultural pur- 
poses, as in the annexed example 
from a marble bas-relief ; whence 




scirpea stercoraria, a dung-basket or 
v. 10. 4.) We might translate it the ] dung-cart. Varro, L. L. v. 139. Ov. 
waiting or resting place, which fully j Fast. vi. 680. Cato, R. R. x. 3. xi. 4. 
expresses the primary as well as SCIRPICULA or SIRPIC'ULA. 
secondary notion of the word schola. \ A small portable basket of platted 



SC/SSOK. 



SCOT/ A. 



587 



rush (scirpus), employed for a variety 
of purposes, as for holding flowers 
(Prop. iv. 2. 40.); vegetables (Lucil. 
ap. Non. ) ; as a fishing basket. (Plaut. 



Capt. 



\J. &c.) The exam 




pie is from a Pom- 
peian painting, and 
represents a flower- 
basket placed on a 
bench which stands beside the gar- j 
land makers (coronariz), in the origi- ! 
rial picture from which the illustration j 
to that word is copied. 

SCIS'SOR. A slave who cut up I 
the viands for the company at an 
entertainment. He was always ex- 
pected to carve with skill and science, 
and a certain sleight of hand ; but at 
the banquet of the ridiculous Trimal- 
chio, the carver is made to flourish 
his knife and dissect the food with 
sundry gesticulations, to the sounds 
and measures of a musical accom- 
paniment. Pet. Sat. 36. 6. 

SCOBPNA. A rasp, for scraping 
wood, as used by carpenters (Isidor. 
Orig. xix. 19. Varro, L. L. vii. 68. 
Plin. H. N. xi. 68.), and contradis- 
tinguished from lima, a file, which is 
enumerated amongst the implements 
of smiths and metal workers. Isidor. 
Orig. xix. 7. 

SCO'Px-E (naWwrpov, adpccOpov). 
In the singular means a thin tzvig ; 
but the word is rarely used except in 
the plural, when it signifies a birch 
broom (Cato, R. R. 152. Plaut. Stick. 
ii. 3. 27.), made up from a number of 
twigs, like our own. See the wood-cut 
s. Area, 5. which exhibits an Egyp- 
tian at the edge of a threshing-floor 
with such a broom in his hands. 

SCOPA'RIUS. A slave whose 
occupation consisted in sweeping out 
rooms or other places with a birch 
broom (scopes). Ulp. Dig. 33. 7. 8. 

SCO'PULA. Diminutive of 
ScOPA. A birch, or hand-brush, of 
twigs, sometimes myrtle (Columell. 
xii. 38. 4.), tied together, used for 
cleansing the inteinor of small ob- 
jects, such as wine-jars, &c. Cato, 
R. R. 26. 




SCORDISCA'RIUS. One who 
makes and sells horses' clothings 
(scot disco). Hieron. Bp. 51. 5. 

SCORDIS'CUM. A housing or 
clothing Tor horses (Veg. Vet. iii. 60. ), 
made of untanned leather or 
(Isidor. Gloss. Edict. Dioclet. 
and adapted to 
the shape of 
the animal, 
very much in 
the same style 
as now prac- 
tised. But 
the ancients 
appear to have 
used it not so much for the purpose 
of warm clothing, as to provide a de- 
fence for the animal on the field of 
battle. This may be inferred in part 
from the strong material of which it 
was made, from its being designated 
in the edict of Diocletian (/. c.) as a 
military accoutrement, and from the 
fact of its being frequently repre- 
sented in the Egyptian paintings and 
Etruscan vases on the bodies of horses, 
when harnessed to the war-chariot. The 
example is copied from a Greek medal. 

SCORTTO, -US, and -OS (aicop- 
irlos, -7nW). A weapon for dis- 
charging stones, plummets, and 
arrows (Veget. Mil. iv. 22. Ammian. 
xxiii. 4.), handled by a single man, but 
requiring skill to be used effectively 
(Vitruv. x. I. 3.); and probably the 
same as, or very similar to, the modern 
cross-bcnv, the form of which has a 
close affinity to that of a scorpion, the 
insect after which it was named. 

2. A heap of stones piled up to a 
point, and employed as a boundary 
mark between adjacent properties. 
Sicul. Flacc. de Condi t. Agror. pp. 4. 
6. Goes. 

SCOT'IA ((TKorla, rpvx't-^os). The 
scotia in architecture ; that is, a hol- 
low moulding < — 

in the base j 

of a column, 
between the 
fillets of thef 
upper and 




5 88 



SCRIBA. 



SCULPTOR. 



lower torus, which received its name 
f rom the dark shadow (<tkotos, dark- 
ness) cast upon its»receding surface by 
the projecting cushion of the torus, as 
shown by the tinted portion of the 
annexed example. Vitruv. hi. 5. 2. 

2. A groove or channel cut into the 
under surface of the corona in the 
Doric order, and near its edge, the 
object of which is to prevent the rain 
water which trickles over the cornice 
from re-entering underneath it. Vi- 
truv. iv. 3. 6. Marquez. Ord. Dor. 
p. 47. 

SCRI'BA (ypau/narevs). Generally 
any person employed in writing ; but 
more especially applied to the public 
notary or clerk, who was a free man, 
professionally employed by the state 
in copying public documents, &c. ; 
whereas the ordinary copyist (Zr- 
brarius) was a slave, who worked 
for the individual that owned him. 
Cic. Liv. Suet. 

SCRIBILI'TA or SCRIBLI'TA. 
A particular sort of plain pasty, eaten 
hot from the oven, and made of 
cheese and flour, with honey poured 
over the top ; something like our 
cheese-cake. Cato, R. R.- 78. Pet. 
Sat. 35. 4. Mart. iii. 17. 

SCRTBLITA'RIUS. One who 
makes cheese-cakes {scriblitce). 
Afran. ap. Non. s. Lucuns. p. 131. 

SCRI'NIUM. A circular box or 
case (Plin. H. N. xvi. 84.) in which 
books, papers, let- 
ters (Sail. Cat, 47. 
Hor. Ep. ii. 1. 
112.), ,or other 
small portable ob- 
jects, such as scents 
and unguents ( Plin. 
H. A T . vii. 30.), 
were kept. The exact difference 
between a scrinium and capsa is not 
easily ascertained ; since they were 
both formed with the same external 
shape and materials, and used for si- 
milar purposes. A passage of Pliny, 
however (H. N. xvi. 84.), clearly 
distinguishes them from each other ; 
whence it has been conjectured that 




the scrinium was a capsa, but divided 
internally into a number of separate 
compartments {quasi secemium) ; and 
this supposition gains some sort of 
authority from the annexed illustra- 
tion, representing the scrinium unguen- 
tarium of Venus, in a Pompeian paint- 
ing, amongst a number of other 
articles appertaining to the toilette of 
that goddess. Though the inside of 
the case is not exposed, yet the form 
of the lid, rising in the centre to give 
room for the largest bottle, sufficiently 
indicates the purpose for which it 
was intended to be used ; and a case 
containing many bottles would answer 
its object very imperfectly, unless 
divisions were made in it for the re- 
ception of each one, distinct from the 
rest. Quaranta. Mus. Borb. xi. 16. 
Compai-e Capsa. 

SCRI'PULUM or SCRU'PU- 
LUM. A scruple; the smallest gold 
coin of the Roman 
currency, weigh- 
ing one-third of 
the denarius. 
(Plin. H. N. 
xxxiii. 16.) It is distinguished by 
the head of Mars in a helmet, and an 
eagle with the word Roma on the re- 
verse, as in the example, from a spe- 
cimen belonging to the Royal Library 
at Paris. The coin is extremely 
rare. 

SCULPO'NE^E ( K po<me{ai). A 
common kind of shoe or sandal, with 
a thick wooden 
sole, worn by 
slaves in the agri- 
cultural districts ^{/tS 
(Cato, R. R. 135. 
1. Id. 59. Plaut. 
Cas. ii. 8. 59.) ; 
possibly represented by the annexed 
wood-cut from a small bronze figure 
of an agricultural serf. Pignor. de 
Serv. p. 526. 

SCULPTOR. Apparently syno- 
nymous with scalptor ; and applied 
to the sculptor who works in marble 
(Plin. H. N. xxxvi. 5. § 2. Plin. 
tun. Ep. i. 10.) ; as well as to the 




SCURRA. 



SCUTRA. 



589 



engraver of gems. Plin. //. JV. xxix. 

38. SCALPTOR. 

SCUR'RA. A polished gentle- 
man, or one who has acquired the 
habits of good society and town life, 
as opposed to awkward and provincial 
mannei's. (Plaut. Most. i. 1. 14.); 
afterwards, one who toadies great and 
wealthy individuals for the purpose of 
getting invitations to dinner, which 
he repays by flattering his host 
and amusing the guests with his 
anecdotes and bon-mots (Plaut. Pan. 
iii. 2. 35. Hor. Et>. i. 18. 10.) ; and 
finally, in a sense of contemptuous 
reproach, a mere buffoon. Hor. Sat. 

1. 5. 49. Plin. Ep. ix. 17. 1. 

2. At a later period the soldiers of 
the emperor's body-guard were de- 
signated by the same name. Lam- 
prid. Alex. Sev. 61. Id. Elag. 33. 

SCUTA'LE. Either the purse of 
a sling (funa'a) in which the missile 
is placed, or the thong by which it is 
projected ; but opinions differ respect- 
ing which is the proper interpretation, 
as the term only occurs in a solitary 
passage of Livy (xxxviii. 29.). 

SCUTA'RIUS. One who makes 
shields (scuta). Plaut. Epid. i. 1. 35. 

2. Scutarii. The title given to a 
class of foreign troops introduced by 
Constantine ; probably as a body- 
guard. Ammian. xx. 4. 

SCUTA'TUS. Armed with the 
oblong rectangular shield, termed 
scutum, as exhibited 
by the annexed figure 
of a Roman soldier 
from the column of 
Trajan. (Liv. xxviii. 

2. Virg. ALn. ix. 
370.) The legio- 
nary soldiers (legio- 
narii) on -Trajan's 
column are uniform- 
ly represented with 
a long square shield, 
made of a convex 
form to take the 
shape of the body ; 
some writers have supposed, with one 
of a long flat oval, or of an hexagonal 



: form ; for those figures are without 
I exception given to the cavalry (equi- 
I les), to the Praetorian troops (prceto- 
I riani), or to the enemy and allied 
I troops from foreign nations. But 
j the scutum was likewise used by the 
! Samnites, and consequently was 
j carried by the Samnite gladiators, as 
I may be seen by the figure introduced 
I in illustration of that word. 

SCUTEL'LA. A diminutive of 
Scutra. A salver or waiter upon 
which other vessels were placed to 
be brought up and handed round to 





the guests at table (Ulp. Dig. 34. 2. 
20.) ; thus potionis scutella (Cic. 
Tusc. iii. 19.), a salver on which 
goblets of wine, or any other beverage, 
are handed about, like the annexed 
example, from a picture of " still life " 
painted at Pompeii. 

SCUT'ICA. A whip with a thong 
made of leather (Mart. x. 62.), whence 




never, 



the name (from the Greek <tkvtik6s). 
As an instrument of punishment it 
was sharper than the switch (ferula), 
but milder than the scourge (flagelhan, 
Hor. Sat. i. 3. 119. Juv. vi. 479., 
where all the three words are in- 
stanced distinctively). The example 
is from a marble bas-relief. 

SCUTRA. A sort of tray or dish 
(Plaut. Pers. i. 3. 8. Cato, R. R. 
clvii. 11.); of which nothing defini- 
tive is ascertained beyond the sup- 
position that it received its name 



590 SCUTR1SCUM. 



SCYPHUS. 



from the Roman shield, scutum, after 
which it was probably formed ; since 
the word is so written by Lucilius 
(Sat. v. 28. Gerlach. ), who more- 
over states that it was made of wood. 

SCUTRIS'CUM. Probably a 
diminutive of the last word. Cato, 
R. 7?. x. and xi. 

SCUT'ULA {oKvraKii). A wooden 
roller or cylinder placed under ob- 
jects of great weight for the purpose 
of assisting in moving them. Cees. 
B. C. iii. 40. 

2. (Diminutive of Scutra.) A 
small dish or platter, of which no- 
thing decisive has been ascertained ; 
but supposed from other analogies of 
the word to have possessed a diamond 
or lozenge shape. Mart. xi. 31. 19. 

3. A segment of marble, or other 
artificial material, cut into the shape 
of a diamond or rhomb, and used for 



/Km 1 




. ____ . - 



inlaying floors or pavements, like the 
three white patterns in the centre 
division of the annexed example, 
which represents a portion of the 
ancient mosaic pavement now re- 
maining in the church of Santa 
Crocein Gerusalem?ne, at Rome. Vi- 
truv. vii. I. 4. Pallad. i. 9. 5. 

4. A check, or diamond figure 




woven' in the pattern of a piece of 
cloth, like the border on the drapery 
of the annexed figure from a fictile 
vase. Plin. H. N. viii. 74. 

SCUTULA'TUS. Applied to 
drapery ; ornamented with a pattern 
in checks, as shown by the preceding 
wood-cut. Juv. ii. 97. Plin. H. N. 
viii. 73. 

2. Applied to animals, as horses ; 
it corresponds with our term flea- 
bitten. Pallad. iv. 1 3. 4. 

SCUTULUM (Cic. N, D. i. 29.). 
Diminutive of Scutum. 

SCU'TUM (OupeSs). The large 
oblong shield generally adopted by 
the Roman infantry instead of the 
round buckler [clipeus), at the period 
when the military ceased to serve 
without pay. It was about 4 feet 
long by 2\ wide ; formed out of 
boards, like a door (whence the 




Greek terms dvpa and 6vp(6s), firmly 
joined together and covered over 
with coarse cloth, under an outer 
coating of raw hide, attached and 
strengthened round the edges by a 
metal rim. The men of each legion 
had their shields painted of a differ- 
ent colour, and charged with distinc- 
tive symbols, as is exhibited by the 
illustration representing three scuta, 
as they stand upon the ground in the 
column of Trajan, distinguished seve- 
rally by the image of a thunderbolt, 
of a wreath, and the same bolt with a 
pair of wings. Liv. i. 43. viii. 8. 
Plin. H. A r . xvi. 77. Virg. s£n. viii. 
662. Veg. Mil. ii. 18. Polyb. ii. 30. 
3. vi. 23. 2. 

SCYPH'US {aKvcpos). A cup for 



SCYTALA. 



SECURIS. 



591 



drinking wine out of. very commonly 
used at convivial parties. (Hor. Od. 
i. 27. I. Id. Epod. ix. 33.) It was 
sometimes of beech wood (Tibull. i. 
10. 8. ), or of silver (VaiTo ap. Gell. 
iii. 14. 1.), or of earthenware, the 
material used for 



the original from 
which the an- 




nexed example T ""Sy 

is copied. The V 
figure conceived ■ t==5s ' 
under our term cup affords a very 
true and accurate notion of its form, 
which was circular and deep, so as to 
be adapted for holding a large mea- 
sure ; whence it is the vessel com- 
monly given to Hercules by the poets 
and artists (VaL Flacc. ii. 272. Virg. 
JEn. viii. 278. Serv. ad. I.) • whereas 
the calix, patei-a, and others, which 
were of a more open and shallow 
form, have a closer affinity to the 
figure of our saucers. 

SCYT'ALA or SCYT'ALE (<ncu- 
TaA.7?). A Greek term for a stick ; 
thence a roller or staff employed at 
Sparta for the purpose of enabling 
the government to communicate secret 
despatches to their generals, which 
was effected in the following manner. 
A strip of leather was first rolled 
slantwise upon a wooden cylinder, 
and upon this the orders written 
lengthwise ; so that when the leather 
was unrolled from the cylinder, it 
contained only a series of single letters 
without any consecutive meaning. In 
this state the strip was transmitted to 
their officer, who ascertained the con- 
tents by applying it to another cylin- 
der of precisely the same dimensions, 
given to him before he set out for the 
campaign. Xep. Pans. 3. Aul. Gell. 
xvii. 9. 3. 

SECES'PITA. A sort of knife, 
employed at the sacrifice, with a 




sharp-pointed iron blade and round 
handle, made of ivory, and orna- 



mented with gold and silver. (Fes- 
tus, s. v. Serv. adWxg. sE?i. iv. 262. 
Suet. Tib. 25.) The example is 
copied from the frieze of an ancient 
temple, still remaining in the Forum 
at Rome, on which it appears amongst 
various other sacrificial implements. 

SEC'TILIS. See Payimentum. 2. 

SECURIC'ULA^eAe^SiO!/). Di- 
minutive of Securis ; a little axe, for 
a child's toy. Plaut. Rud. iv. 4. 114.. 
and woodcut s. Crepundia. 

2. {■nzXtKivQ's). A mortise or doz'e- 
lail in carpentry, produced by a re- 
cessed cutting in the shape of a 
hatchet head, which receives the 
tenon or projecting end of a corre- 
sponding form, left on another piece 
of timber, so as to bind the two toge- 
ther at a given angle. Vitrav. x. 11. 
8. Id. iv. 7. 4. 

SECU'RIS {-niXtKvs). An axe or 
hatchet, employed as a battle-axe 
(Curt. iii. 4.) ; for slaughtering cattle 
at the sacrifice (Hor. Od. iii. 23. 12. 
Ov. Trist. iv. 2. 5. ) ; oras a woodman's 

ir— 

axe for felling timber (Ov. Fast. iv. 
649. <xx. The example is from the 
column of Trajan. 

2. Securis dolabrata. A hatchet 
with a small cutting edge, like that 
of the dolabra, ^ 

pro: ecting from ■ - =s> 

the back part f\ 

of the regular ^ N 

blade, like the annexed example from 
the Vatican Virgil ; and as contra- 
distinguished from the bipennis, which 
has two perfect blades, and from the 
common hatchet, also termed securis 
simplex, because it has no addition 
bevond the simple blade. Pallad. 
R. R. i,43- 

3. The axe inserted in the bundle 




of rods {fasces) carried by the Roman 



592 SECUTORES. 



SEGMENT A TUS. 



lictors, and . with which a criminal 
was beheaded after he had been 
beaten with the rods. (Cic. Pis. 34- 
Liv. ii. 5.) The illustration exhibits 
the axe and rods bound up together, 
from a marble bas-relief in the Mattei 
palace, at Rome. 

4. The lunated member on the 
back part of the vine-dresser's prun- 
ing-bill, which is clearly detailed in 
the annexed illustration, representing 




a design of that instrument, from 
a very ancient MS. of Columella. 
Columell. iv. 25. I. 

5. A -pick-axe, of similar form, use, 
and character to the same instrument 




in our own day ; as shown by the 
annexed example, from a sepulchral 
bas-relief. Stat. Sylv. ii. 2. 87. 

SECUTO'RES. Pursuers; the 
name given to a particular class of 
gladiators, who were trained to com- 
bat with the Retiarii (Juv. viii. 210. 
Suet. Cal. 30. Isidor. Orig. xviii. 55.), 




receiving the name from the manner 
in which they pursued round the 



arena an adversary who had made an 
unsuccessful cast withhis net, and who, 
in consequence of being unprotected 

i with defensive armour, was compelled 
to immediate flight until he could 

|, succeed in gathering up his net for 
another throw. The arms of the 
secutor were a sword and shield 
(Xiphil. lxxii. 19. ;, precisely as seen 

I in the annexed illustration, from an 
ancient mosaic in which several dif- 
ferent classes of gladiators are re- 
presented. The retiarius, who is on 

I the ground, and in a simple tunic, as 

! described by Suetonius (/. c. retiarii 
tunicati), has thrown his net over the 
secutor, but without entangling him 
sufficiently in its toils to hamper the 

j pursuit, or prevent himself from being 
overtaken. 

SEDE'CULA (SiQplaKos). A 
settee; a low seat or stool; see the 
illustration s. Sella, i., of which it is 
only a diminutive form. Cic. Att. iv. 
10. Pollux, x. 47. 

SE'DES (eSpo). A seat ; in the 
same general sense as our own term, 

j and thus including all the particular 

I kinds which are enumerated in the 

j Classed Index. 

SEDI'LE. Any seat or thing to 
sit upon ; used in the singular with the 
same general meaning as Sedes ; but 
the plural Sedilia is commonly used 
to designate a row of seats, such as 

j were permanently constructed of stone 
or marble in the theatres, &c. (Plin. 
Ep. v. 6. Hor. Ep. iv. 15. Gradus, 
3. ), or of wood put up for temporary 
accommodation in public places, at 
shows and ceremonies (Suet. Aug. 
43. ) ; or on which the rowers sat on 
board ship. Virg.sEu. v. 837. Remex. 

SEGES'TRE or-ES'TRIUM (<rre- 
yaarpou). Any covering or wrapper, 
made of straw matting (Varro, L. L. 

j v. 166.), or fur skins (Festus s. v.), 
and employed very generally for 
packing goods (Plin. H. N. xiii. 23.), 
as a coverlet for beds, or wrapper for 
persons exposed to the weather. Suet. 
Aug. 83. 

I SEGMENTA'TUS. Ornamented 



SEGMENTUM. 



SELLA. 



593 




with segmenta. Juv. vi. 89. Isidor. 
Orig. xix. 22. 18. 

SEGMEN'TUM. An ornament 
attached to the dresses of females 
(Val. Max. v. 2. 1. Ov. A. Am. iii. 
169. Juv. ii. 124.); 
consisting of one or 
more strips of gold 
tissue, or some other 
richly coloured ma- 
terial, sewed on to 
the skirts of the 
drapery in parallel 
lines, one above the 
other, like tucks 
(Isidor. Orig. xix. 
22. 18.), as shown 
by the annexed ex- 
ample, representing 
one of the figures in the celebrated 
Roman fresco of the Vatican, which 
goes by the name of the Aldobrandini 
marriage. This interpretation is 
further confirmed by a passage of 
Pliny (H. N. vi. 39. ), in which the 
word segmentum means a division 
formed by parallel circles — tegmenta 
mtindi, qua; uostri circulos appellavere, 
Grceci parallelos. 

SEJUGIS. A chariot drawn 
by six horses yoked abreast. Liv. 
xxxviii. 35. 

SELIQJAS'TRUM. An old- 
fashioned or antiquated kind of seat 
(Festus s. v.), but of what precise 
character is not ascertained. Varro. 
L. L. v. 128. Hyghu Astron. ii. 10. 
iii. 9. 

SELLA (Sicppos). A low seat of 
the characteristic kind which we 




in opposition to chair {cathedra) ; 
that is, without back or arms, such as 
was commonly used by females (Cic. 
Div. 1. 46.) and artisans (Id. Cat. iv. 
8. ) engaged in sedentary occupations. 
The illustration represents Penelope 
in a Pompeian painting ; and compare 
the wood-cuts s. Calceolarius, 
Calculator. 

2. Sella curulis (8i<ppos a-yKvXo-rrovs). 
A curule seat : that is, a stool with 
bent legs, made to open and shut like 




understand by our terms stool or settle 



our camp-stools, for the convenience 
of being transported with its owner 
\ wherever he went. The example 
i exhibits an original of bronze, dis- 
! covered at Pompeii. The left-hand 
figure shows one side of the frame, as 
it would stand when opened out to 
receive the seat, which fitted into the 
incavations observable at the top ; 
the right-hand one shows it when it 
is shut up and the four legs brought 
close together. Seats of this kind 
were introduced from Etruria, and 
were originally used exclusively by 
the kings at Rome, but were subse- 
quently granted as a privilege to the 
consuls, praetors, and curule aediles of 
the republic. In early times they were 
inlaid or embossed with ivory carv- 
ing, but subsequently enriched with 
ornaments in gold. Liv. i. 8. ix. 46. 
Suet. Aug. 43. Ov. Pont. iv. 9. 27. 

3. Sella castrcnsis. A camp-stool 
(Suet. Galb. 18.); made to open and 
shut upon the same principle as the 
preceding example, but probably 
formed in a much simpler manner, 
without any adventitious ornaments, 
and with straight legs instead of the 
bent ones, which constituted the 
essential and distinguishing feature of 
the sella curulis. The illustration is 
from a bas-relief, which originally 
decorated the triumphal arch of Tra- 
2 P 



594 



SELLA. 



jan, and represents the emperor in 
the act of addressing his troops from 





a camp-stool of the precise character 
described. 

4. Sella balnearis. A bath-seat ; 
in which the bather sat to have warm 
water poured over 
him, and to be 
steamed by va- 
pour whilst he 
remained in it, 
closely enveloped 
in wrappers. 
Every bathing 
establishment was furnished with a 
sufficient number of these conve- 
niences ; the Thermae of Antoninus 
alone contained as many as 1600, all 
made of marble, one of which, from 
the original, is exhibited by the illus- 
tration. It has a very low circular 
margin round the back, a flat seat, 
hollow underneath, but perforated by 
a horse-shoe aperture in front (whence 
it is also termed sella pertusa by Cato, 
R. R. 157. 11.), which served to 
carry off the water thrown over the 
person occupying it, or to transmit 
the steam if it was used for a vapour 
bath. Sidon. Ep. ii. 2. Cassiodor. 
Var. Ep. 39. Paul. Dig. iii. 7. 

5. Sella pertusa. Same as the pre- 
ceding. 

6. Sella familiarica. A night-stool. 
Varro, R. R. i. 13. 4. Scrib. Comp. 193. 

7. Sella tonsoria. A barber's chair ; 
which was low, and had a narrow rest 
for the back, like the example last in- 
serted, and supports for the arms, not 



lying in a horizontal position, but 
sloping downwards from the front. 
A seat of this construction was re- 
commended to paralytic patients by 
the Roman physicians, in conse"- 
quence of the assistance it afforded in 
raising the body from a sitting pos- 
ture. Ccel. Aurel. Tard. ii. 1. 

8. Sella gestatoria, fertoria, and 
portoria (8'«ppos KardcrTeyos, Dio Cass, 
xlviii. 23. (popziov KardcrTeyov, Id. 
xlvii. 10.). A sedan chair; in which 
the inmate was transported in a sitting, 
instead of recumbent position, as was 
the case in a lectica. (Suet. Nero, 26. 
Vit. 16.) It was generally covered with 
a roof (Tac. Ann. xv. 57.), and closed 
in front and at the sides (Juv. i. 124.), 
though not always (Suet. Aug. 53.) ; 
and was more especially used for 
females, whence it is also designated 
sella muliebris (Suet. Otho. 6.). No 
representation of this conveyance has 
been discovered, but its character 
may be readily imagined from the 
above details. 

9. Sella bajulatoria. A saddle for 
beasts of burden, made upon a wooden 
frame covered with 
leather, and of a 
considerable size, 
adapted for receiv- 
ing the packages to 
be loaded upon it. 
(Ccel. Aurel. Acut. 
i. 11. Veg. Vet.^Z 
iii. 59. 2.) The example is from a 
painting of Herculaneum, representing 
a scene in the market-place of that city. 

10. Sella equestris. A riding-saddle 
(Veg. Vet. vi. 6. 4. Cod. Theodos. 
8. 5. 47. ), made upon a tree, with a 
high pommel {fulcrum, Sidon. Ep. 
iii. 30.) in front, and a cantle behind, 
covered with leather, and stuffed in- 
side. The genuine 
Greeks and Ro- 
mans either rode 
upon the bare 
back or upon a 
pad (ephippiuvi) ; 
but the regular saddle is supposed to 
have been invented about the middle 





SELL ARIA. 



SEMI 7 A. 



595 



of the 4th century, as an order of the 
Emperor Theodosius, in the year 
385, forbids persons who rode post- 
horses from using saddles of more 
than sixty pounds weight ; and the 
example introduced is designed by 
Ginzrot ( Wagen und Fahrwerke, pi. 
80.), from one of the troopers' saddles 
on the Theodosian column. Conse- 
quently, this sense of the word is to 
be regarded as of late Latinity. 

SELLA'RIA. A room furnished 
with settles (sella 1 ), as a reception 
room. Plin. H. N. xxxiv. 1 9. § 24. 
xxxvi. 24. § 5. 

SELLA'RIS, sc. eqmis. A saddle- 
horse. Veg. Vet. ii. 28. 34. Sella, 10. 

2. sc. gestatio. A riding in a 
sedan chair. Coel. Aurel. Tard. i. 4. 
n. 92. Sella, 8. 

SELLISTER'NIU M {<rt\x6.<rrpo>- 
<m). A religious feast offered to the 
female deities (Val. Max. ii. 1. 2. 
Tac. Ann. xv. 44.), of the same 
nature as the Lectisternium ; but 
with this difference, that their statues 
were disposed upon settles (lellce), 
instead of couches (lecti), because the 
ancient women were not accustomed j 
to recline at table, like the men, but 
sat upon the edge of the couch, or on J 
a seat apart, as explained by the \ 
article and illustrations s. Accubo. 

SEL'LULA. Diminutive of j 
Sella, 8. A small or ordinary j 
sedan. Tac. Hist. iii. 85. 

SELLULA'RII (Qdi-avaoi). Ar- | 
tisans and mechanics who work at | 
sedentary occupations, such as shoe- 
makers, tailors, &c. ; so termed be- 
cause they sat upon a stool or settle 
(sella). Liv. viii. 20. Compare Aul. 
Gell. iii. 1. 3. and wood-cuts s. Cal- 
ceolarius and Coronarius. 

SEMBEL'LA. A small piece of 
Roman money, equal to half the 
libella, or the twentieth part of a 
denarius. (Varro, L. L. v. 174.) It 
would belong to the silver currency ; 
but probably was only a nominal di- 
vision, never actually coined. 

SEMICINC'TIUM. A cloth fast- 
ened round the loins for the same 




objects and purposes as the kilt 
(cinctus), but of smaller dimensions, 
or, as the name implies, not exceeding 
half the width of that 
object. (Isidor. Orig. 
xix. 33. 1. Pet. Sat. 94. 
8. Mart. xiv. 153.) In 
the annexed illustration 
it is worn by Daedalus 
on an engraved gem ; 
and a similar article is 
frequently met with 
in sculpture and paint- 
ing on persons en- 
gaged in active occupa- 
tions. 

SEMIMIT'RA (Ulp. Dig. 34 . 2. 
26.). A half mitra ; same as Ml- 
TELLA, where an illustration is given. 

SEMIOB'OLUS (vni60o\os). A 
halfobol; a small piece of the Greek 
silver coinage, of which there were 
two standards, the Attic, worth about 
3-25 farthings, and the ^Eginetan, 
worth id. 0-583 farthings. Fann. De 
Pond. 8. 

SEMIPHALA'RICA or SEMI- 
FALA'RICA. (Aul. Gell. x. 25.) 
A Falarica of half the ordinary size. 

SEMIS PATH 'A. (Veg. Mil. ii. 
15.) A Spatha of half the usual size. 

SEMIS'SIS. Half an As ; a cop- 
per coin weighing six ounces (uncice), 
stamped with the letter S to denote 




the value, and the head of Jupiter, 
Juno, Pallas, &c ., with the prow of a 
vessel on the reverse, as in the an- 
nexed example,, from an original, 
drawn one quarter of the actual size. 

SE'MITA. Any narrow pathway 
(Varro, L. L. v. 35.) ; as a foot-path 
in the country (Liv. xliv. 43. Suet. 
Nero, 48.) ; or a narrow lane in a 
town, as opposed to via, a broad 
street. (Cic. Agr. ii. 35. Mart, s ii. 
61.) Hence the term is used specially 
in the same sense as Crepido, the 



596 S EMU NCI A. 



SEPTIZOMUM. 



trottoir for foot passengers on either 
side of the carriage road {agger). 
Plaut. 7/7>/. ii. 4. 80. Id. Cure. ii. 

S EM UN' CI A. A half ounce 
weight (Liv. xxxiv. I.) ; a half ounce 
measure (Columell. xii. 21. 2.) ; and 
a small piece of money containing 
the twenty-fourth part of an As. 
Varro, L. L. v. 171. 

2. The semuncia is also enumerated 
by Cato (R. R. x. and xi. ) in a list 
of farming implements and stock, 
but without any context to suggest a 
notion of the object intended. Some 
commentators suppose it to be a 
small pair of panniers of half the 
usual size. 

SENA'CULUM. A blaee in 
which the senate used to meet. 
Three of these are recorded in the 
city of Rome, — one on a site between 
the Capitol and Forum, where the 
temple of Concord was afterwards 
built ; a second at the Porta Capena ; 
and a third near the temple of Bellona. 
Varro, L. L. v. 1 56. Festus s. v. Val. 
Max. ii. 2. 6. 

SE'NIO. The six-point on the 
dice ; whence this name was given to 
the throw when all sizes were turned 
up, which was considered a favour- 
able one, but not so good as the 
Venus. Suet. Aug. 71. Pers. iii. 48. 

SENTI'NA {iivrXos). The hold 
or lowest part in the interior of a 
ship, where the bilge water settles 
(Cic. Earn, ix. 15.) ; and the bilge 
water itself (Cs?s. B. C. iii. 28.) ; 
whence sentinam trahere (Sen. Ep. 
30.), "to make leakage ;" sentinam 
exhaurire (Cic. Sen. 6.), "to pump 
out the ship." 

SENTINA'CULUM. A pump, 
with which the bilge water {sentind) 
is worked up from the hold of a 
vessel. Paul. Nol. Ep. vi. 3. 

SEPLASIA'RIUS. A dealer in 
medicinal herbs, and in medicines 
compounded from them, answering 
in some respects, though not exactly, 
to the chemist and druggist of the 
present day. It is not easy, however, 



to determine the precise branch of 
I trade carried on under this name ; 
I but from the passages cited below, it 
is clear that the seplasiarius sold 
I herbs to veterinaries for the cure of 
cattle, and also medicines ready made 
j up to physicians, like our dealer in 
I patent medicines. Veg. Vet. iv. 3. 
j 6. Plin. xxxiv. 11. Lamprid. Elag. 
j 30. Beckmann, History of Inventions, 
! vol. i. p. 328. Lond. 
j SEPTIZO'NIUM, and SEMP- 
i TEMZO'DIUM. A particular kind 
! of edifice, ot 
j great magni- 
; ficence, con- 
; sisting of se- 
: veft stories of 
columns, one 
: above the o- 
ther, support- 
ing seven dis- 
tinct entabla- 
tures or zones, 
from which it 
received the 
name. It does 
not appear for 
what particular 
i purpose these structures were de- 
signed ; but two such are specially 
j recorded in the city of Rome, one in 
the Xllth Region, which existed be- 
fore the time of the Emperor Titus 
(Suet. Tit. 2. Ammian. xv. 6. 3.), 
i and the other in the Xth Region, 
j under the Palatine hill, and near to 
I the Circus Maximus, which was built 
j by Septimus Severus. (Spart. Sev. 
j 19.) Three stories of this last struc- 
1 ture remained standing during the 
! pontificate of Sixtus V., but were 
! taken down by him for the purpose 
1 of employing the columns in building 
the Vatican. These are exhibited 
: by the annexed wood-cut, from an en- 
| graving of the 16th century (Ga- 
i mucci, Antichita di Roma) ; and 
j though they form but a small portion 
of the original structure in its entirety, 
yet that is sufficient to convey an accu- 
rate notion of the general plan upon 
which such monuments were designed. 




SEPTUM. 



SEPULCRUM. 



597 



SEP'TUM, in a general sense, alone for tombs- of the ordinary de- 
is applied to any enclosure surrounded i scnption (see example, No. 2.) ; but 
by barriers, walls, palings, hedges. | those of a more ostentatious charac- 
&c. ; such as a sheep-fold, homestead ; ter had one or two stones built over 
for cattle, den for wild beasts, and ! the buriai-ioom, containing apart - 
the like (Cic. Virg. Varro) ; but in | merits, nchiy decorated with pamt- 
the plural the name of Septa was 1 ings and stucco work, which were 
specially used to designate a number I intended to accommodate the members 
of enclosures in the Campus Martius of the family when they went to per- 
wirhin. which the tribes or centuries j form religious rites or to visit the 
were collected at the Roman Comitia, j remains of their deceased relatives, 
before they proceeded to vote. {Ov. j but not to receive cinerary urns nor 
Fast. i. 53. Lucan. vii. 306. Cic. Atk \ coffins ; for these were deposited only 
i.v. 16.) Each of these was termed a j in the sepulchral chamber, the en- 
pen (OviLE, and wood-cut s. v. ), and j trance 10 which was in general stu- 
was originally partitioned oft" by ! diously concealed, in order to secure 
wooden railings ; but subsequently I its contents from violation. All these 
the whole site was furnished with J particulars are elucidated by the 
marble fittings, and surrounded by j illustration, representing in half 
colonnades as well as other archi- J section and elevation an ancient 
tectural decorations. B. Cms. ad \ sepulchre of three stories, on the Via 
Suet. Aug, 43. Asinaria, near Rome, the identical 

SEPTUN'X. Seven-twelfths of one in which the celebrated Barbe- 
any whole, as of an As ; a nominal | nni or Portland Vase, now preserved 
piece of money, never in actual coin- j in the British Museum, was dis- 
age. Varro, L. L. v. 171. covered. The lowest compartment 

SEPU L'CRUM. A sepulchre ; a ; is the sepulchral chamber, m which 
general term for any kind of tomb m the vase was deposited, 
which the corpse was buried, or the \ 2. Sepidcrum favuliare. A family 
bones and ashes deposited. (Ulp. Dig. j sepulchre, that is, which was con- 
11. 7. 2.). Edifice? of this nature j structed by an individual for himself 
would of course vary 111 details, ■ and the other members of his family 
materials, and embellishments, ac- j and household, including also the 
cording to the wealth of the pro- ■ freed men and women. ^Ulp. Dig. 
prietor, and taste of the architect who \ \i, 7. 5.) A sepulchre of this de- 



designed them. A s.ngte sepulchra. a, by inscriptions like the following : 

chamber, in which the remains were Sibi ' ET • CONJUGI ' ET ' Liberis ' 

fieposued, comprised all that was Et • libertis libertabusque • 
essentially requisite, and sufficed Posterisque " eurim ' fkcit . 




598 SEPULTURA. 



SERIA. 



and is shown by the design on the 
second column of the last page, from 
an interior in the street of" the tombs 
at Pompeii. 

3. Sepulcrum commune. A common 
sepulchre ; that is, which received the 
remains of many different individuals 
belonging to the same or to many 
different families. (Cic. Off. i. 17. 
Auson. Epitaph, xxxvii. 1. Inscript.) 
It consisted of a chamber divided into 
numerous rows of niches {columbaria), 





sometimes to the amount of several 
hundreds, and all regularly numbered, 
in each of which a pair of cinerary 
jars (ollce) could be deposited ; and it 
was the common practice for the per- 
son to whom the sepulchre belonged, 
to give, sell, or bequeath by will the 
right of possession in so many niches, 
set out by number in the document. 
(Inscript. ap. Fabrett. 16. 71.) The 
illustration represents the interior of 
a sepulchre of this kind, which was 
discovered near the Porta Pia at Rome. 

SEPULTU'RA. A burying or 
sepulture ; properly meaning the dis- 
posal of the body or ashes in a tomb 
{sepulcrum), as contradistinguished 
from humatio, interment in a grave. 
Plin. H. N. vii. 55. Cic. Leg. ii. 22. 

SERA. A padlock; that is, a 
lock constructed to hang upon a 
staple, or from the link of a chain, so 
as to make a fastening upon the same 
principle as is commonly adopted at 
the present day. That the sera was 
not a permanent fixture, but loose 
and removable, like a modern pad- 
lock, is clear from many passages, in 



which it is spoken of as being "put 
on" (apposita. Tibull. i. 8. 76. Ov. 
Fast. i. 266.) or " taken off" (demta. 
Ov. Fast.'i. 280.; remola,\ arro, L.L. 
vii. 108. Xon. s. Reserare, p. 41.), or 
falling down from its holding [sera 
sua sponte delapsa cecidit, rcmissceque 
subito fores. Pet. Sat. xvi. 2. ) ; and 
I that it was employed with a chain 
I (catena) is expressly mentioned by 
Propertius (iv. 11. 26.). When used 
1 for fastening doors, it was linked on 
to a staple, or some such contrivance, 
j inserted in the door-post {poslis), 
j whence the expression, inserta posti 
I sera (Ov. Am. ii. 1. 28.), indicates 
the door being locked : excute poste 
\ seram (lb. i. 6. 2.), on the contrary, 




describes the process of opening it. 
1 The illustration represents a movable 
iron lock of the character described, 
! which was found, with the key be- 
1 longing to it, in a tomb at Rome ; 
and the barrel of another specimen, 
exactly similar in form, is now pre- 
served, with its key rusted in it, 
I amongst the Roman antiquities of the 
1 British Museum. The circular plate 
on the left shows the cap of the barrel, 
j removed from its place for illustra- 
j tion, with its keyhole and the orifice 
through which a return of the link-rod, 
now broken off, but originally bent 
like the right-hand side, would enter 
when the lock was closed. The ex- 
ample in the British Museum has lost 
] this adjunct altogether. 

SE'RIA. An earthenware vessel 
I chiefly employed for holding M ine 
and oil (Columell. xii. 18. 5. A'arro, 
R. R. iii. 2. 8.), though also put to 
j other uses, as a jar for potted meats 
(Columell. xii. 55.4. Plaut. Capt. iv. 
' 4. 9.), burying money (Pers. ii. 11.), 
i &c. We have no passages which 
! detail the exact form of the vessel in 



SRRIOLA. 



SERRULA. 



599 




question, excepting that it had a full 
body, terminated by a narrow throat 
(faux, Columell. xii. 55. 
4.), and that it was smaller 
than the dolium, but larger 
than the amphora. (Id. 
xii. 28. I.) The annexed 
figure is copied from an 
original in earthenware, 
discovered, amongst many 
others of different shapes 
and sizes, in a wine cellar 
under the walls of Rome, of which 
a plan and description are given, 
s. Cella, 2. ; and as it bears 
a distinct outline from the well-ascer- 
tained forms of the dolium and am- 
phora, whilst possessing the properties 
above mentioned, it is here intro- 
duced as a probable example of the 
model known by the name of Seria; 
the more so as the locality Avhere it 
was found fully testifies its quality 
and use. 

SE'RIOLA. (Pers. iv. 29. Pal- 
lad. iv. 10. 9.) Diminutive of Seria. 

SERPERAS'TRUM. A sort of 
splint or other contrivance fastened 
to the knees of infants for the pur- 
pose of keeping their legs straight, 
and counteracting any tendency to 
distortion (Varro, L. L. ix. II.); 
whence Cicero gives the name allu- 
sively to the officers of his cohort 
(Alt. vii. 3.), because it was their 
duty to keep the army in order. 

SER'RA (irpiwi>). A saw ; an 
iron toothed instrument for cutting 
wood. (Vitruv. i. 5. 7. Virg. Georg. 
i. 143. Senec. Ep. 90.) The saws 
of the ancients were made in the 




same manner, and possessed the same 
variety of forms and sizes, adapted to 
the nature of the work for which 
they were applied, as those now in 
use. The example represents a frame- 



saw, of the kind used by sawyers for 
cutting timber into planks ; the blade 
(Jamind) is copied in detail from a 
sepulchral bas-relief ; and the frame 
has been added through the rings at 
each of its extremities, upon the 
authority of a similar instrument 
roughly delineated on an Etruscan 
vase. 

2. A saw for cutting stone, made 
of iron, but without teeth, like those 
still used by our stonemasons ; the 
place of teeth being supplied by 
emery or very fine sand, by means of 
which even the hardest marbles, such 
as porphyry or granite, can be cut 
into slabs. Plin. II. N. xxxvi. 9. 

SERRA'CUM. See Sarracum. 

SERRA'RIUS. A saw-maker 
(Senec. Ep. 56.), not a sawyer 
(prista) ; the termination in arms, 
according to the usual analogy, de- 
scribing the person who makes, not 
the one who uses, the object to which 
it is added, like calceolarias, corc- 
narius, restiarms, sellarius, and many 
others enumerated in the Classed In- 
dex of trades. Thus Seneca (/. c.) 
complains of the noise inflicted by 
such tradesmen on their neighbours ; 
which would scarcely be reasonable 
if the mere sawing of timber were 
the nuisance objected to ; but the 
disagreeable sounds produced by con- 
stantly filing up the teeth of this 
instrument {stridor serrce turn, cum 
acuitur. Cic. Tusc. v. 40.), will be 
readily admitted to be an intolerable 
infliction. 

SERR'ULA (-npiovwv). Diminu- 
tive of Serra. A small saw ; such 
as employed by carpen- 
ters (wood-cut s. Fabri- 
Ca), surgeons (Celsus, vii. 
33.), woodsmen (Colu- 
mell. Arb. vi. 4.), &c. The illustra- 
tion represents an implement of this 
description, from a sepulchral bas- 
relief, of the class now called bow- 
saws by our mechanics. 

2. Semda manubriata. A small 
saw, having the blade fastened into 
a short handle (manubrium) at one 




6oo 



SER TA. 



SIC A. 



end, instead of being set in a frame, 
like the last two specimens. (Pallad. 
L 43. 2.) The example is from a 




distinction is not 
(Plaut. As. iv. I. 



marble bas-relief, where it appears in 
the hands of Daedalus. 

SER'TA, plural ; (ffrefinara). A 
festoon, or long wreath of many 
flowers sewed to- 
gether, and em- 
ployed chiefly in 
decorating altars, 
temples, or the 
doorways of pri- 
vate houses upon 
occasions of festi- 
vity ; whereas the 
corolla: and corona; 
were more parti- 
cularly intended 
to be worn as or- 
naments for the 
person ; but this 
always observed. 
58. Virg. JE.il. 1. 421. Cic. Tusc. iii. 
18.) The illustration exhibits a fes- 
toon of the kind described, which is 
carried by a young woman in a bas- 
relief, representing a marriage fes- 
tivity, to decorate the doors of the 
bridal mansion ; and the last illus- 
tration s. Infulatus, shows the 
manner of suspending it over the 
doorway of a house or temple. 

SESTERTIUS. A Roman coin, 
worth two asses and a half, the fourth 
part of a denarius, and equal in value 
to a fraction more than two pence 
of our money. It 
belonged origi- 
nally ""to the sil- 
ver coinage ; 
but subsequent- 
ly was made of the metal called auri- 
chalchum, a very fine quality of brass. 
(Plin. H. N. xxxiv. 2.) The ex- 
ample is from an original of silver, 
and of the actual size ; but speci- 
mens in the latter metal are much 
larger. 

SEX'TANS. A copper coin of 





Roman currency, weighing two ounces 
[uncice), and equal in value to the 
sixth part of an As. (Varro, L.L. v. 
171.) It bore the impress 
of a caduceus and a strigilis, 
with two balls to denote its 
value, as exhibited by the 
annexed specimen, from an 
original, drawn of one-third the. ac- 
tual size. 

SEXTA'RIUS. A Roman mea- 
sure both for liquids and dry things ; 
containing a sixth part of the congius, 
and the fourth part of the modi-its. 
Rhemn. Fann. De Pond. 71. Hor. Sat. 
j i. 1. 74. Columell. ii. 9. Plin. H. N. 
xviii. 35. 

SEX'TULA. The smallest de- 
nomination in Roman money, con- 
taining the sixth part of an uncia or 
ounce. Varro, L. L.v. 171. Rhemn. 
' Fann. De Pond. 22. 

SIB'INAorSIB'YNA(o-i^77). A 
particular kind of hunting-spear 
\venabidnm), but of which the peculiar 
properties are unknown. (Tertull. 
adv. Marc. i. 1. Hesych. s. v.) It 
was, however, used as a boar spear. 
(Athen. ii. 5.) Compare the illus- 
trations s. Venatio and Venator. 

SI'CA. A sort of knife or dagger 
with a sharp point and curved blade 
(Gloss. Philox. £i<pos eVi/cau7T6s), like 
a wild boar's tusk (Plin.-Zf. N. xviii 

1. apri dentium sicas exacuunt), which 
rendered it particularly efficacious for 
stabbing and ripping up. It was the 
national weapon of the Thracians 
(Val. Max. iii. 

2. 12.) ; and 
was conse- 




j quently em- (CSslDt 

; ployed by the 

i gladiators, who took their name and 
accoutrements from that people (Suet. 
Cal. 32. Mart. iii. 16. and next 
wood-cut.) But amongst the Ro- 
mans it was only regarded as the 
weapon of a ruffian and assassin 
(Cic. Cat. ii. 10. Quint. Decl. 321. 
Isidor. Oii%. xviii. 6. 8.), like the 
knife of the lowest Italian popu- 
lace, which is formed and used 



SIC AR I US. 



S1GILLUM. 60 1 



in a similar way, to stab at the abdo- 
men, and rip upwards. The example 
is in the hands of a barbarian on the 
column of Antoninus. 

SICA'RIUS. In a general sense, 
one who makes use of the curved 
knife or dagger termed sica ; but as 
that weapon amongst the Romans 
was chiefly employed for ruffianly 
purposes, the word sicarius was com- 
monly used to designate a bandit, 
murderer, or assassin (Cic. Rose. Am. 
36. Hor. Sat. i. 4. 3.), even without 
reference to the instrument by which 
the murder was accomplished. Quint, 
x. I. 12. 

2. A gladiator (Cic. Rose. Am. 3. 
sicarios atque gladiatores) belonging 
to the class 
called Thra- 
cians, who were 
armed with the 
sica, a natio- 
nal weapon in. 
Thrace, instead 
of the sword 
(gladius), as ex- 
hibited by the ^ 
annexed figure 
of a Thracian ^ 
gladiator, from the device on a terra- 
cotta lamp. 

SICILIC'ULA. Diminutive of 
Sicilis ; the reading of some editions I 
of Plaut. Rud. iv. 4. 124., but of ! 
which the correctness is very doubtful. ! 

SICI'LIS. A spear-head, cha- 
racterized by the broadness of its ! 
point (Ennius and Festus s. v.), 
and a partial resemblance to 
the outline of the Casoian sea 
(Plin. H. N. vi. 15.) ; both 
which properties are sufficiently 
apparent in the annexed figure, 
from an original spear-head found 
at Pompeii, to admit of its being 
produced as a probable example of 
the form in question. A spear-head 
of exactly the same shape occurs 
twice on the column of Trajan. 

SICINNIS'TA ((riKivvHTvhs). One 
who dances the sichmhim, a dance of 
Satyrs, introduced in the Greek 



Satyric drama (Schol. Vet. ad Aris- 
toph. Nub. 540), in which the per- 





formers accompanied themselves by 
their own music and singing (Aul. 
I Gell. xx. 3.), as in the annexed illus- 
tration, from a fictile vase of Italo- 
Greek workmanship, which is be- 
lieved to afford a representation of 
the dance in question. In the origi- 
nal the open mouth and expression of 
the female figure, both of which are 
lost in our wood-cut from the minute 
scale of the drawing, clearly indicate 
that she is singing. The very pecu- 
liar poses and gestures of the per- 
formers are, moreover, worthy of 
attention, because they express the 
exact attitudes and steps of the mo- 
dern Neapolitan tarantella, which may 
be consequently regarded as a relic 
of this old classic dance. 

SICINN'IUM {aiKivvLs). The Si- 
einnis ; a Greek Satyric dance, de- 
scribed and illustrated in the pre- 
ceding article. Gell. xx. 3. 

SIGILLA'TUS. Ornamented 
with small figures in relief (sigilla) ; 
like the embossed ornaments on a 
vase (Cic. Verr. ii. 4. 14.), or carved 
devices on a well cover. Id. Ait. i. 

IO. PUTEAL, I. 

SIGIL'LUM. A small statue, 
figure, or image (Ov. A. Am. i. 407. ) ; 
embossed or affixed to vases of gold 
and silver (Cic. Verr. ii. 4. 22. ) ; cast 
in terra-cotta moulds for architectural 
decorations (Plin. H. N. xxxvi. 59.), 
formed by the impressions of a signet 
ring (Cic. Acad. iv. 26.) ; or worked 
in embroidery. Ov. Met, vi. 86. 



6o2 



SIGMA. 



SIGNUM. 



SIG'MA. A semicircular dining- 
couch (Mart. xiv. 87. Apul. Met. v. p. 
90. suggestum semirotundum), adapted 
for use with a round table (orbis) ; 
and so named because it resembled 
one of the early forms of the Greek 
letter Sigma, which was written like 
our C. It was not invented until the 
square dining-table {quadra) fell into 
disuse, when the introduction of the 
circular form necessitated a similar 
change in the shape of the sofa used 
with it. But it was more convenient 
than the old lectus tricliniaris, because 
it did not like that require the fixed 



number of nine guests, but could be 
arranged for smaller parties ; for six 
(Mart. ix. 60.), seven (Id. x. 48.), or 
eight (Lamprid. Elag. 25. ) ; and the 
order of precedence in the places 
upon it ran straight on in regular 
succession, from the highest to the 
lowest. The illustration is from a 
painting at Pompeii, which represents 
a scene in the fable of Psyche. 

2. A circular seat round the bot- 
tom of the hot-water bath, on which 
the bathers sat and washed them- 
selves. (Sidon. Ep. ii. 2.) Also the 
bath itself. Id. ib. 




SIG'NIFER (vrinaiopopts 
ensign or standard-fearer 
in the Roman armies (Cic. 
Dw. i. 35. Cses. B. G. 
ii. 25.) ; a general term, 
which will include all 
the individual officers, 
who nevertheless re- 
ceived a special title 
from the particular kind 
of ensign they carried, 
such as the Imaginifer, 
Draconarius, &c. , whose 
ensigns were all classed 
under the name of signa 
militaria. The an- 
nexed example, from 
Trajan's Column, ex- 
hibits the signifcr of a 




cohort, whose standard is different 
from either of those mentioned. 

SIGNI'NUM (sc. opus). The 
name given to a particular kind 
of material employed for making 
floorings ; consisting of tiles broken 
up into minute particles and mixed 
with mortar, then beaten down into 
a solid substance with the^ rammer. 
It acquired the name from the town 
of Signia (now Segni), which was fa- 
! mous for its tiles, and where it was first 
introduced. Columeli. i. 6. 12. Plin. 
H. N. xxxv. 46. Vitruv. viii. 6. 14. 

SIG'NUM (cnj^uetW). In a general 
sense, any mark, sign, or signal by 
I which something is known ; whence 
the following more special applica- 
tions have obtained. 



SJGNUM. 



SI LEX. 



1. (dyaX/na). An image or figure, 
whether of metal, marble, wrought, 
cast, sculptured, or embroidered (Cic. 
Verr. ii. 4. 1. Virg. Alii. ix. 263. 
lb. i. 648. Plin. Ep. i. 20. 5.) ; but 
strictly used to designate the image of 
a deity (Plin. Ep. ix. 39.), as contra- 
distinguished from statna (avdpias), 
an image of men. Inscrip. ap. Grut. 
174. 8. Signum Martis et sta- 
tuam sibi posuit. 

2. The image or device engraved 
upon a seal, and the 
signec or impression ^ 
made by it. (Cic. Cat. v 
iii. 5. Id. Quint. 6. Id. 
Att. ix. 10.) The ex- 
ample is from an original. 

3. The sign of a shop (Quint, vi. 
3. 38.) ; indicating, by some emble- 
matical representation, the nature of 






the business carried on inside, like 
the annexed example of two men 
carrying an amphora, which is exe- 
cuted in terra-cotta, and forms the 
sign of a wine-shop at Pompeii. A 
milkman's in the same town is dis- 
tinguished by the sign of a boy 
milking a goat. 

4. (ari/j.a). A constellation or sign in 




the heavens, formed by a group of stars 



apparently representing the form of 
certain animals ; as in the annexed 
illustration, from a statue of Atlas 
with the heavens on his shoulders. 
Ov. Fast. v. 113. Id. Met. xiii. 
619. 

5. Signamilitaria((rr\ixaia). Military 
standards or ensigns, including, in 
reality, the eagle 
{aquila), which was the 
general ensign of the 
entire legion; but more 
commonly used with 
reference to the diffe- 
I rent standards belong- 
ing to each separate 
! maniple and cohort, 
! as distinct from the eagle. (Cic. 
J Cat. ii. 6. Tac. Hist. II. 29. Id. 
.Ann. i. 18.) The illustration, from 
j a medal, shows the eagle between two 
I standards of cohorts ; the name of 
j each ensign is enumerated in the 
I Classed Index, and an example 
given under its own denomination. 

SILENTIA'RIUS. A domestic 
slave whose duty it was to preserve 
silence in the household, and keep 
the whole establishment from making 
the slightest noise in the presence of 
their master ; even a cough or sneeze 
being immediately checked by the 
ready stroke of the rod. Salvian. 
Gub. Dei. iv. 3. Inscript. ap. Fabrett. 
p. 206. n. 54. Compare Senec. Ep. 47. 

2. Silentiarius sacri palatii. At a 
late period of the Empire, one of 
thirty officers who were persons of 
j some consequence at the Byzantine 
! court, acting under the authority of 
three superiors (deairiones), and ap- 
pointed for the purpose of preserving 
order, silence, and decorum within 
the precincts of the palace. Imp. 
Anastas. Cod. 15. 62. 25. Inscript. 
ap. Grut. 1053. 10. 

SIL'EX. Generally a common 
flint or flint- stone ; but in a more 
special sense a large hard stone of 
volcanic formation, cut by the mason 
into polygonal blocks, and then dove- 
tailed accurately together, which was 
extensively used in the construction 



604 SILICERNIVM. 



SIMPULUM. 



of walls (Vitruv. i. 5. 8.), and for 
the paving of streets and roads (Li v. 




xli. 27. xxxviii. 28.) ; in the manner 
shown by the annexed example from 
a piece of Roman pavement near 
Rome. It is thus frequently opposed 
to lapis, a square flag-stone, and to 
saxum, also used in polygonal masses, 
and likewise of a volcanic formation, 
but possessing properties which geo- 
logists call tnfo, instead of a flinty 
substance. 

SILICER'NIUM (TrepISe/Tnw). A 
funeral feast given in honour of a 
deceased person, either at the funeral 
or within a few days after it (Varro, 
ap. Non. s. v. p. 48. ) ; whence the 
term is sometimes used in mockery, 
to designate a decrepit old man. 
(Terent. Ad. iv. 3. 34.) Amongst 
the Romans it would appear that this 
entertainment took place at the sepul- 
chre itself {ad sepidcrum, Varro, /. c.) ; 
and the highly decorated chambers, 
so commonly met with as appendages 
to their tombs (Sepulcrum, i. and 
illustration), but never used to re- 
ceive deposits, were doubtless intended 
for the purpose : while a regular 




for the table, is still to be seen within 
one of the sepulchral enclosures at 
Pompeii. But amongst the Greeks 
it was always given in the house of 
the nearest relative to the deceased, 
and immediately after the funeral. 
Demosth. de Coron. p. 321. 25. Cic. 
Leg. ii. 25. The illustration 
represents the relatives of a young 
Greek lady at a funeral feast of 
the kind described, from a marble 
bas-relief sculptured upon her tomb. 
The objects in the cornice above are 
merely intended to represent various 
articles of the female toilette and 
work-table. 

SI'MA (Kv/ua). An architectural 
moulding, so termed from the character 
of its outline, which resembles — - 
the snub nose of a goat, being ^ — 
hollow in its upper surface but swell- 
ing below, as exhibited by the figure 
annexed. It is chiefly employed for 
the crowning or uppermost n: ember 
of a cornice, being placed over the 
corona, and is now termed "-sima," 
or " cyma recta," by English archi- 
tects, and "ogee" by the workmen. 
Vitruv. iii. 5. 12. 

SIM'PULUM. A ladle or cup 
{cyathus) with a long handle, em- 
ployed at the sacrifice "for taking the 
wine in small quantities (Varro, Z,. L. 
v. 124.) out of the craier or other 
large vessel, in order to make liba- 
tions. (Festus s. v. Apul. Apol. p. 




triclinium, with its couches and stand 434.) The right side of the annexed 



SIMPUVIUM. 



-SINUS. 



605 



wood-cut exhibits the implement it- 
self, from an original found in a fictile 
vase, . which has a picture on its out- 
side, representing a priestess in the 
act of filling a cup with wine, taken 
out of a larger vessel with the sim- 
pulum, as shown by the illustration. 

SIMPUVIUM. A vessel em- 
ployed at the sacrifice, supposed to 
be only another name for simpulum, 
which see. Plin. H. N. xxxv. 46. 
Juv. vi. 343. 

SIN'DON (aivhAv). A very fine 
sort of linen cloth, or muslin, em- 
ployed for clothing by the natives of 
India, Egypt, and Asia. The same 
fabric was also imported into Greece 
and Italy, and used by persons of 
refined habits, for light summer 
dresses, both of the inner (iuduius) 
and outer apparel (amictus). Mart, 
ii. 16. iv. 19. Auson. Ephem. in 
Parecb. 2. Diog. Laert. vi. 90. 

2. A wrapper for books. Mart, 
xi. 1. Same as Membrana, 2. 

SI'NUM and -US {llvos). A very 
large, round, and deep bowl for wine 




(Varro, L. L. v. 123. Id. De Vit. Pop. 
Rom. ap. Non. p. 547. Plaut. Cure. 
i. I. 82.), or milk (Virg. Ed. vii. 33.) ; 
like the annexed example, which re- 
presents Ulysses presenting a bowl of 
wine to Polyphemus, in a bas-relief 
of the Villa Pamfili. The fabled 
size of the Sicilian monster is thus 
appropriately expressed by the great 
capacity of the vessel containing the 
potation proffered to him. 

SIN'US (koXttos). Literally, any' 
surface bent into a semicircular or 
hollow form, whence the following 
expressive senses : — ■ 



1. A semicircular fold in a loose 
outside garment, produced by catching 
up one of its sides and throwing the 
end over the opposite shoulder, in 
the manner described s. Anabolium ; 
thus contradistinguished from gre- 
mium, a lap formed by holding up 
the lower portion of the dress,- and 
from ruga, a small irregular crease, 
arising from the constraint of a 
girdle {cinguluvi). The ordinary sinus 
was formed immediately across the 




breast, so as to make but a short 
fall, thence termed sinus brevis 
(Quint, xi. 3. 137.), as in the left- 
hand figure of the annexed wood-cut, 
from a statue at Venice ; whence the 
word is frequently used to designate 
that part of the human person. 
(Phsedr. v. 5. 16. Terent. Neaut.m. 
3. 2. Tac. Hist. iii. 10.) But it might 
be lengthened out to a much lower 
sweep by dropping the right hand 
and arm, and drawing the end down 
with it from the shoulder, as Csesar 
is represented to have done when 
about to fall beneath the strokes of his 
assassins — simul sinistra manu sinum 
ad ima crura deduxit (Suet. Cces. 82.) ; 
it was then termed sinus laxus (Hor. 
Sat. ii. 3. 172.), because it made a 
long and loose belly, in the manner 
represented by the part marked 2. on 
the right-hand figure, from a statue 
of the Villa Pamfili. In the late 
fashion of adjusting the toga, a double 
sinus was formed, a short one drawn 
from under the right arm to the top 



606 S1PARIUM. 



SIPHO. 



of the left shoulder (Quint, xi. 3. 
102.), as shown by the right-hand | 
figure, at the part marked 4, and the I 
loose one lower down, marked 2. 
Both sexes were accustomed to ad- I 
just their outer drapery in this style, ! 
and the hollow thus created served [ 
as a convenient receptacle for carrying j 
about their persons any object which j 
they wished to keep concealed, such j 
as a letter, purse, &c. Cic. Verr. i. j 
5. 57. Ov. Am. i. 10. 18. 

2. The purse of a fishing and 
hunting net. Plaut. True. i. I. 15. 
Grat. Cyneg. 29. 

3. The bosom of a sail when filled I 
by the wind. Virg. Ov. Tibuli. 

4. A bay or gulf on a coast, formed 
by the retiring of the land into a semi- 
circular recess. Cic. Virg. Plin. 

5. The curved or hollow part of 
the sharp edge in a vine-dresser's ! 
bill-hook (Columell. iv. 25. 1.), which 



and as it is known that in some of 
the large theatres of the Macedonian 
era, the part of the orchestra situated 
between the front of the regular 
stage {proscenium) and the altar of 
Bacchus (thymele) was converted into 
a lower stage, upon which the mimes 
and dancers performed (Muller, Hist, 
of Greek Literature, vol. i. p. 299.), 
it may be fairly inferred that the 
siparium was intended to conceal this 
lower stage ; and that it was folded 
up to reveal the dancers upon it, at 
the moment when the aulceum was let 
down to show the scenery upon the 
regular stage. 

Sl'PHO (a'Hpwv). A pipe or tube 
through which water is made to rise 
by its own pressure, or by artificial 





resembles in form a bay of the sea, i 
as exhibited by the annexed example ! 
from an ancient MS. of Columella 

6. A large full-bodied vessel for 
wine or milk. See SlNUM. 

SIPA'RIUM. A folding-screen, \ 
employed at the theatre, and con- j 
sisting of several leaves, which could j 
be opened out or folded together \ 
(Apul. Met. i. p. 7. siparium compli- 
cato. Id. x. p. 232. , complicitis sipa- 
riis) like a modern screen. Some 
antiquaries think that the siparium 
was the drop-scene used only in 
comedy, and the aulceum only in 
tragedy. But Apuleius speaks of 
both as used together ; while his 
language implies that the aulcemn was 
let down (subdtictum) under the stage 
when the play commenced, and the 
siparium folded up {complicatuni) at 
the same moment. He represents 
this as taking place upon the pre- 
sentation of a pantomimic ballet, de- 
scriptive of the judgment of Paris ; 



means, into a jet deait. (Senec 
Q. N. ii. 16. Plin. H.N. ii. 66.) 
The illustration represents a fountain 
in the fulling establishment at Pom- 
peii; the tubes still remain projecting 
from each of the square reservoirs, 
but the water has been added in the 
drawing, to show the manner in 
which it played from them, and fell 
in a united stream into the labrum, 
or central basin. 

2. A siphon, or pipe, by which 




liquids are drawn out of casks (Cic 



SIPHO. 



607 



Fin. ii. 8. Pollux, vi. 2. x. 20.), in 
the same manner as practised at the 
present day. The invention is of 
very great antiquity, and of Egyptian 
origin, for the name of the instrument 
is traced back to the Egyptian root 
"sif," to imbibe (Wilkinson, Manners 
and Customs of Ancient Egypt., iii. 
p. 341. ), and is represented in the 
annexed engraving from a painting 
at Thebes. The right-hand figure 
pours the liquid into three vases 
placed on the top of a high stand, 
while the one on the opposite side 
draws it off by three separate siphons 
into a larger vessel below. One of the 
siphons is applied to his mouth in the 
act of exhausting the air, and the liquid 
is already flowing through the other 
two, which are held in his right hand. 

3. A double-actioned forcing-pimp, 
used also as a fire-engine. (Plin. Ep. 
x. 35. Isidor. Orig. xx. 6. Ulp. 
Dig. 32. 7. 12.) A machine of this 
kind, discovered in the last century 
at Castrum Novum, near Civita 
Vecchia, and supposed to have been 
used for pumping up the water into 
the public baths of that town, is ex- 
hibited on the opposite column. It 
is constructed upon the same principle 
as the Ctesibica machina, described 
by Vitruvius (x. 7.), but is more 
simple in its parts ; and, since it 
agrees in all respects with the di- 
rections given by Hero (de Spirit, p. 
180.), who was a pupil of Ctesibius, 
we can have no hesitation in receiving 
it as. a model of the original pump 
invented by Ctesibius with the im- 
provements effected by his pupil. 
The parts of which it is composed, 
and their technical names, are as fol- 
lows : — A A (8vo 7ru|i8es, modioli ge- 
melli), two cylinders, in which the 
suckers, B (e/xfioXot, emboli), and 
pistons, C {navovia, regales), work 
alternately up and down ; D, a hori- 
zontal tube (au\7]u) communicating 
with and connecting the two cylin- 
ders, and into the centre of which 
another upright tube, e, (eTtpov auhrju 
opdios) is inserted, ffff, on the 



section below, four self-acting valves 




(aaadi.13., asses), two of which are 
affixed to the bottom of the two 
cylinders, and the others to the neck 
of the upright tube, one on each 
side of it. The pump was placed, in 
the same position as shown by the 
engraving, over the reservoir, with 
the lower ends of the two cylinders 
(ff) immersed in the water. The 
action was precisely similar to that 
described under the article Ctesibica 
Machina. The two pistons work 
simultaneously, but inversely, the 
one up and the other down. As one 
rises, the valve at the bottom of the 
cylinder opens, and allows, the water 
to be drawn in through the aperture 
thus created, while the one which 
descends in the other cylinder closes 
its own valve, and thus forces the 
water contained in it into the hori- 
zontal tube, forcing open the neck 
valve at its own side, and closing the 
other one ; so that the water, having 
the communication with the opposite 
cylinder shut off, is driven into the 
upright tube (e), and forced out of it, 
with a continuous stream, through a 
pipe or a hose, fastened on to its 
upper end ; which is not shown in 
the engraving, because the top was 
in a mutilated state when discovered. 



608 SIPHONARII. 



SITULA. 



The adaptation of such a contrivance 
for fire engines will be readily under- 
stood ; it, in fact, proceeds upon the 
same principle as that employed in 
the construction of such machines 
amongst ourselves. 

SIPHONA'RII. Firemen; or, as 
the French language more closely 
renders the term, pompiers, who 
worked the engines {siphones) kept 
for extinguishing conflagrations. 
They formed part of the cohort of 
watchmen {vigil es) established by 
Augustus. Inscript. ap. Mur. 788. 3. 

SIPHUN'CULUS. Diminutive of 
Sipho. A small pipe or tube through 
which water is discharged to form a 
jet cteau. Plin. Ep. v. 6. 23. and 
illustration s. Sipho, i. 

SIR/PEA. See Scirpea. 

SIRPIC'ULUS. See Scirpi- 

CULUS. 

SISTRA'TUS. One who carries 
the Egyptian rattle {sistrum); thence, 
by implication, a 
priest or a priestess 
of Isis, who made 
use of that instru- 
ment in their re- 
ligious ceremonies, 
holding it up and 
shaking it with the 
right hand, in the 
manner exhibited 
by the annexed fi- 
gure from a Pom- 
peian painting, in 
which various classes of the Egyptian 
priesthood are represented. Mart, 
xii. 29. 

SIS'TRUM(<rc7- 
(Trpov). A sort of 
rattle, used by the 
Egyptians in the 
religious ceremo- 
nies of Isis (Ov. 
A. Am. hi. 635. 
Met. ix. 783. ), and 
in war instead of 
the trumpet. (Virg. 
ALn. viii. 696. 
Prop. hi. 11. 43.) 
It consisted of a 





number of metal rods {virgulci) in- 
served into a thin oval frame {la- 
minam angustam in moduni baltei re- 
cur vatam) of the same material (Apul. 
Met. xi. p. 240.) ; to this a short 
handle was attached, by which it was 
held up and rapidly shaken, so as to 
make the rods give out a sharp and 
rattling noise. The example is from 
an original of bronze. 

SITEL'LA. Diminutive of 
Situ la. A vessel with a full belly 
and narrow throat, em- 
ployed at the Roman 
Comitia for the pur- 
pose of drawing by lot 
the names of the tribes 
or centuries, in order to fix the ro- 
tation in which they were to vote. 
The lots {sortes) y made of wood, were 
dropped into this vessel, which was 
filled with water, so that when shaken 
only one of them could present itself 
at a time, in consequence of the nar- 
rowness of the throat, through which 
it had to be drawn out. (Plaut. Cas. 
ii. 4. 17. Ib. ii. 5. 34. Liv. xxv. 3.) 
The example is copied from the de- 
vice upon a coin of the Cassian 
gens. 

SIT'ICEN {rvfx&aiX-ns). A mu- 
sician who performed at funerals, 
upon a particular kind of straight 
horn (tuba) Capito. ap. Gell. xx. 2.), 
the characteristics of which are not, 
however, explained. 

SITULA. A bucket for drawing 
water out of a well (Isidor. Orig. xx. 
15. Plaut. Amph. ii. 2. 47. Paul. 
Dig. 18. I. 40.) ; made with a pointed 
bottom, to facilitate immersion, as 
shown by the annexed example from 
an original of bronze. 
The same outline is 
constantly observed in 
the ancient representa- 
tions of wells with a 
windlass and bucket ; 
in a fragment of fresco- 
painting preserved in 
Museum, and in the 

GlRGILLUS. 

2. A vessel used for drawing lots. 




the British 
wood-cut s. 



SITULUS. 



SOLDURII. 609 



(Plaut. Cas. ii. 6. 6. Cic. Verr* ii. 
2. 51.) Same as Sitella. 

SIT'ULUS. (Cato, R. R. x. 2. 
Vitruv. x. 4. 4.) Same as Situla. 

SOCCA'TUS. Wearing the shoe 
or slipper termed soccus. Sen. Ben. 
ii. 12. 

SOC'CIFER. (Sidon. Carm. ix. 
215.) Same as the preceding. 

SOC'CULUS. (Sen. Ben. ii. 12. 
Suet. Vit. 2.) Diminutive of 

SOCCUS. A loose slipper, or 
shoe without any tie to it, but which 
completely cover- 
ed the foot, so 
that a person 
wearing it is said 
to be soccis indutus (Cic. Or. iii. 32.), 
or soccis calceatus. (Plin. H. N. 
xxxvi. 4. § 13.) Amongst the 
Greeks it was commonly worn by 
both sexes (Cic. Rab. Post. 10. 
Terent. Heant. i. 1. 72.) ; but at 
Rome its use was strictly confined to 
females {soccus viuliebris, Suet. Cal. 
52.), and to actors on the comic 
stage, in order to form a contrast 
with the high-soled boot {cothurnus) 
of the tragic drama (Hor. A. P. 80. 
Ov. Pont. iv. 16. 29. Quint, x. 2. 
22. ) ; so that whenever an instance 
occurs of the soccus being worn by a 
Roman off the stage, it is recorded as 
a singularly anti-national affectation, 
and reprobated accordingly. (Sen. /. c. 
Suet. /. c. Plin. H. N. xxxvii. 6. ) The 
example here introduced is worn by a 
comic dancer in an ancient painting. 

SOLA'RIUM {(TKtddypov). A sun- 
dial ; a general term, including many 
different kinds and forms of the same 
instrument, with distinct and appro- 
priate names, enumerated in the 
Classed Index, and described, each 
one under its own special denomina- 
tion. Varro, L. L. vi. 4. Plin. H. N. 
vii. 60. 

2. Solarium ex aqua. Awater-^lass, 
which performed the uses of a clock ; 
showing the hours by the decrease of 
water contained in it, against a cer- 
tain number of spaces (spalia, Sidon. 
Apoll. Ep. ii. 9 ) partitioned off on 



the body of the vessel from which it 
I escaped, or of the one into which it 
i distilled. (Cic. N. D. ii. 34.) In this 
j passage Cicero uses the term solarium 
both for a sun-dial and for a water- 
clock ; but distinguishes them by 
■ calling the former solarium descriptum, 
the latter solarium ex aqua. 

3. {^KiacrT^pLov). A terrace on the 
j top of a house built with a fiat roof, 
or over a porch, surrounded by a 
; parapet wall, but open to the sky, to 
! which the inhabitants retired to en- 
j joy the sunshine and fresh breezes in 
fair weather, as is still a common 
I practice at Naples and in the East. 
I (Isidor. Orig. xv. 3. 12. Suet. Nero, 
j 16. Plaut. Mil. ii. 4. 25.) A terrace 
I of this kind was discovered on the 
second story of a house excavated at 
Herculaneum, of which a description 
is given at p. 251. and a plan of the 
same, on which it is marked G. Sub- 
sequently, however, the solarium was 
covered with a roof (Inscript. ap. Fa- 
brett. p. 724. n. 443.) as a protection 




against the sun, and formed, in fact, the 
upper story of a house, open to the air 
on all sides, except the top, as in 
the example, representing Dido's pa- 
lace, from the Vatican Virgil When 
thus constructed it was employed in 
i hot weather as a camacuhtm, or re- 
■ freshment room. Inscript. /. c, 
j SOLDU'RII {evx^^oi). Pro- 
! perly a Gallic word, employed by the 
I ancient Gauls (Cass. B. G. iii. 22.) in 
i a sense somewhat similar to our 
I vassals or retainers, thereby intending 
to designate a body of men attached 
I to some chieftain, whom they served 
2 o 



6io 



SOLEA. 



SOLE A TUS. 





with the utmost fidelity and devo- 
tion. 

SOL'E A. A sort of clog or sandal, 
of the simplest form ; consisting of a 
mere sole underneath 
the foot (Festus, s. v. 
Isidor. Orig. xix. 34. 
11. Aul. Gell. xiii. 
21.), bound on by a strap across the 
instep, like the annexed example 
from a Pompeian painting, and the 
clogs now used by the Capuchin 
friars. It was worn by both sexes 
indiscriminately. Ov. A. Am. ii. 
212. Hor. Ep. i. 13. 15. Plant. 
True. ii. 4. 12. 

2. Solea spartea. A shoe or boot 
made of the Spanish broom, for the 
purpose of protecting 
the feet of cattle and 
beasts of burden, 
when tender or dis- 
eased. (Columell. 
yi. 12. 3. Veg. Vet. i. 26. 3. ii. 45. 3.) 
The example annexed is not from an 
ancient original, but shows a contriv- 
ance of the same kind now used by 
the inhabitants of Japan, consisting of 
a small basket, made to the shape of 
the animal's foot, on to which it is 
bound by a strap round the fetlock. 

3. Solea ferrea. A protection for 
the feet of mules (Catull. xvii. 26.) 
employed in draught ; intended to 
answer the same object as the modern 
horse-shoe, though differing materi- 
ally in its quality and manner of 
fixing ; for the absence of all evi- 
dence, either written, in sculpture, or 
painting, of the use of any such 
article, seems to afford sufficient evi- 
dence of the fact that neither the 
Greeks nor the Romans were in the 
habit of shoeing their animals by 
nailing a piece of iron on to the hoof 
as we now do. The contrivance 
they employed was probably a sock 
made of leather or some such mate- 
rial, and similar in form and general 
character to the solea spartea last 
described ; being passed under and 
over the foot, and bound round the 
fetlock and shanks of the ani- 



mal by thongs of leather, like the 
carbatina: of the peasantry. This 
sock was not permanently worn, but 
was put on by the driver during the 
journey in places or upon occasions 
when the state of the roads required it, 
and taken off again when no longer 
necessary. Both the nature of the 
contrivance, showing that it was a 
close shoe covering the entire foot, 
and the practice of putting it on 
and removing it occasionally is suffi- 
ciently testified by the particular 
terms employed to designate the ob- 
ject itself and the manner of applying 
\t—mulas calceare (Suet. Vesp. 23.) ; 
mulis soleas induere (Plin. H. IV. 
xxxiii. 49.) — terms which will be fully 
understood by referring to the articles 
Calceus and Indutus. When the 
underneath part of the sock was 
strengthened by a plate of iron, it was 
termed solea ferrea ; but under the ex- 
travagant habits of the empire, silver 
plates were sometimes used instead of 
iron, when it was called solea argentea 
(Suet. Nero, 30.) ; and sometimes 
gold, solea ex auro. (Plin. /. e.) It 
is consequently an iron plate of this 
kind which Catullus mentions (/. c. ) 
as being left in the mud, by getting 
detached from the sock under which 
it was fastened ; and not one nailed on 
to the hoof, like a modern horse-shoe. 

4. Solea lignea. A sort of wooden 
clog or fetter, into which the feet of 
criminals were inserted, to prevent 
them from escaping while being con- 
ducted to prison. Cic. Inv. ii. 50. 

5. An instrument, or a machine 
employed for bruising olives to make 
oil (Columell. xii. 52. 6.) ; the nature 
of which is entirely unknown. 

SOLEA'RIUS. One who makes 
solece. Plaut. Aul. iii. 5. 40. 

SOLEA'TUS. Wearing solece, as 
shown by the wood- cut s. Solea, 1. 
When the word is used with reference 
to the Romans, it is indicative of a 
person being in-doors, or in dis- 
habille ; as these articles were con- 
sidered unbecoming for out-door use, 
and to betoken affected manners or 



SOLIFERREUM. 



SPAR SI O. 6ll 



a foreign style of dress. Senec. Ira. 
hi. 18. Castric. ap. Gell. xiii. 21. 
Cic. f^rr. ii. 5. 33. Pis. 6. 

SOLIFER'REUM or SOLLI- 
FER'REUM. A sort of javelin 
made of solid iron, both head and shaft. 
Liv. xxxiv. 14. Festus, s. Sollo. 

SOLITAURI'LIA. See Suove- 

TAURILIA. 

SOL'IUM {Qpovos). In the origi- 
nal and strict meaning, a square 
high-backed chair, 
with closed sides for 
arms, as if cut out 
from a block of solid 
wood, which was 
employed in early 
times for the king 
to sit in, that his per- 
son might have some 
protection against anj 



sudden or secret violence from be- 
hind. (Serv. ad Virg. j&n. i. 506.) 
The example, which agrees -exactly 
with the above description of Servius, 
represents the chair used by Latinus 
in the Vatican Virgil. 

2. A chair of state, like our throne y . 





upon which the ffods. kines, and 
great rulers 
sat. (Virg. 
sEn. x. 1 16. 
Cic. Fin. 
ii. 21. Ov. 
Fast. Yi. 

353-) It 
differs from 
an ordinary 
chair {ca- 
thedra), in 
being made of more valuable mate- 
rials and costly workmanship. In 
works of art it is mostly represented 
with a back, arms, and cushions, fre- 
quently covered with rich drapery ; 
but always with a foot-stool in front 
{scabellum, scamnum) to indicate its 
height. The example shows the 
solium of Venus in a painting of 
Pompeii. 

3. A large arm-chair, in which the 
Roman lawyers used to sit and re- 
ceive the clients, who came to con- 



sult them (Cic. Leg. i. 3. Id. Or. ii. 
55.) ; whence the expression, a sub- 
selliis in otinm soliumque se conferre 
(Id. Or. ii. 33.), means to retire from 
court to chamber practice ; that is, 
from active pleading in court, where 
the advocates sat upon benches (sub- 
sellia), to the comparative leisure of 
attending consultations in an arm- 
chair (solium) at home. 

4. Solium ebumeam. An ivory 
chair (Claud. Laud. Stil. 199.) ; 
meaning thereby the curule seat, 
which was decorated with ivory ; — 
only a poetical expi-ession for Sella 
curulis. 

5. A receptacle for the dead body, 
like what we now call a sarcophagus, 
that is, of an imposing character, 





made of valuable marbles (Suet. Nero, ' 
50.), and enriched by sculpture ; es- 
pecially used as a deposit for kings 
and great personages (Curt. x. 10. 
Flor. iv. 11. 11.), of which the an- 
nexed illustration affords a remark- 
able specimen, from an original in 
which the body of L. C. Scipio Bar- 
batus was deposited. 

6. The seat at the bottom of a 
circular warm-water bath, on which 
the bather sat and washed himself 
(Suet. Aug. 82. Festus, s. v. ), usually 
made of the same substance as the 
bath itself (Pallad. i. 41.), but some- 
times of wood (Suet. /. c. ), and even 
of silver. (Plin. H. N. xxxiii. 54.) 
See the illustration s. Baptisterium, 
at the bottom of which a seat of this 
kind is exhibited. But in some of the 
above passages, as well as others 
(Celsus, vii. 26. 5. Sidon. Apoll. Ep. 
ii. 2., solii capacis hemicyclium), the 
word is used for the bath itself. 

SPAR'SIO. An artificial sprink. 



6l2 SPAR TEA. 



SPA THALIUM. 



ling, or mist {nimbus. Mart. Sped. 3. 
Id. v. 25. ) of scented waters, made to 
fall over the interior of a theatre or 
amphitheatre by means of pipes and 
machinery. (Senec. Controv. v. 
Prcef. Id. Ep. 90. Q. N. ii. 9.) 
This treat was not an ordinary oc- 
currence, but given occasionally by 
the munificence of some individual ; 
and consequently it was customary to 
announce it by an advertisement {al- 
bum) posted in prominent parts of the 
city, such as the following found at 
Pompeii. — Venatio • Athletve ■ 
Sparsiones • Vela erunt. That 
is, "There will be a hunt of wild 
beasts, an exhibition of athletic con- 
tests, a discharge of perfumed waters, 
and an awning over the spectators." 

2. A scattering of presents to be 
scrambled for by the people (Stat. 
Sylv. i. 6. 65. Compare Suet. Cal. i. 8. 
Dom. 4. ) ; same as MlSSiLlA. 
SPAR'TEA. See Solea, 2. 
SPAR'UM or -US. A weapon, 
properly speaking, peculiar to 1 



the agricultural population 
(agrestis sparus, Virg. JE11. 
xi. 682. ; telum rusticum, 
Serv. ad /.), which had a 
wooden shaft (kastile, Nepos, 
Epam. 9. ), and an iron head 
with a curved blade attached 
to it (in modum pedi recu-rvum, 
Serv. /. c), but also ending in 
a sharp point, to fit it for 
being discharged as a missile 
(Nepos, /. c. Sisenn. ap. Non. 
s. v. p. 555.) It was used in 
hunting (Varro, ap. Non. 
/. c.) ; and sometimes in war- 




fare ; but in that case it is not to be 
regarded as a regular weapon ; only 
such as might be adopted by rude 
levies of the peasantry, or in sudden 
risings, where every man arms him- 
self as he best can. (Sail. B. Cat. 
59.) The annexed figure is copied 
from a bas-relief in the collection at 
Ince-Blundell, where it is used at a 
hunt ; and as the very peculiar form 
of its head agrees so characteristically 
with the description collected from 



the various incidental passages cited 
above, it does not appear that any 
doubts can be entertained respecting 
the name and quality of the object it 
was intended to represent. 

SPATH'A {andd-n). A batten ; a 
flat wooden instrument used in 
weaving, for the purpose of driving 
home the threads of the woof or tram 




(subtemen, trama) so as to knit the 
whole closely and compactly together 
(Senec. Ep. 90.) ; probabiy similar 
to the instrument still employed for 
the same object in Iceland, where the 
manner of weaving is extremely 
primitive, and which is represented 
by the figure annexed. 

2. A broad and flat w r ooden spatula, 
employed for stirring, mashing, and 
mixing medicines or other ingre- 
dients. Columell. xii. 41. 3. Plin. 
H. N. xxxiv. 26. Celsus, vii. 12. 

3. A large, broad, and long, two- 
edged sword, with a very sharp 
point (Veg. Mil. ii. 15. Tac. Ann. 
xii. 35. Apul. Met. i. p. 3.) ; as 

1 



shown by the annexed example from 

the sarcophagus of Alexander - Se- 
! verus. In length it reaches from the 

ground to the top of the wearer's hip. 
4. A wooden implement employed 

by surgeons in replacing a dislocated 

shoulder. Celsus, viii. 15. 

SPATHAL'IUM ((nraOdhiov). An 

ornament worn by women round the 
1 wrist (Plin. H. N. xiii. 52. 
I Tertull. Cult. J wm. 13.); -^b\ 
I which is supposed to have B 
j had small bells attached as \I M 

pendants to it, as in the ^^-^iL 

example, from an original 

discovered in a Roman 

sepulchre ; and to have received its 

name from the resemblance it bore to 

a branch of the palm-tree with its 

pendant capsule (spatha) containing 

the flower and fruit. 



SPECILLUM. 



SPECULUM. 



6l 3 



SPECIL'LUM (mtjAtj). A sur- 
geon's probe, for sounding wounds, j 
and other purposes. (Cic. N. D. iii. j 



22. Celsus, vii. 8. Id. vi. 9.) The 
example is from an original of iron, j 
six inches long, which was found in j 
the house of a surgeon at Pompeii. 

SPECULA ((TKowtd, <TKoni}). A j 
watch-tower, on which guards were 
regularly stationed to keep a look-out 
and transmit signals. (Varro, L. L. J 
vi. 82. Liv. xxii. 19. Cic. Fam. \ 
iv. 3. Id. Verr. ii. 5. 35.) Theillus- J 
tration represents a coast view, from j 




a painting of Pompeii, with five 
watch-towers situated upon as many 
eminences, very similar to those with 
which the Italian coasts of the Medi- 
terranean are now furnished. 

SPECULA'RIA. Window panes ; 
made of thin plates of talc {lapis 
specularis) ; a transparent substance, 
which the ancients employed for the 
above purpose, before the invention 
of glass, both as a closing over the 
aperture of a window (Senec. Ep. 
90. Ib. 86. Q. N. iv. 13.), and 
for covering conservatories, garden 
frames, &c. Plin. H. N. xix. 23. 
Columell. xi. 3. 52. 

SPECULA'TORES. Lookers -out ; 
a term applied generally to any per- 
sons who acted the part of scouts or 
spies (Liv. xxii. 33. Sail. Jug. 114.); 
but specially to a small number of 
men attached to each Roman legion 
(Tac. Hist. i. 25. Hirt. B. Hisp. 
13. Inscript. ap. Grut. 520. 5. Ap- 
pian. B. C. v. 132.), whose duty it 
was to collect information respecting 
the numbers and motions of the 



enemy, and to act as aides-de-camp to 
the general in transmitting his orders 
to the different divisions of the army. 
Hirt. B. Afr. 31. 

2. Under the Empire, the name was 
given to a select body of men retained 
for the service of 
the prince's person, 
as a sort of detec- 
tive force and body 
guard. (Tac. Hist. i. 
24. Ib. ii. II. Suet. 
Cal. 44. Claud. 35.) 
They were armed 
with a lance {lancea, 
Suet. /. c. Id. Galb. 
18. ) ; and are fie- . 
quently represented . 
on the columns of ' 
Trajan and Antoni- 
nus in attendance upon the emperor, 
or keeping guard before his tent, in 
the manner shown by the example 
annexed. 

SPECULUM {zvoTTTpov. Karon - 
rpov). A mirror ; 
originally made of 
white metal, formed 
by the admixture 
of" copper and tin 
(Plin. H. N, xxxiii. 





45.), but afterwards of silver (Plin. 
/. c. Plaut. Mcst. i. 3. in.), which is 
less brittle ; the surface being kept 
bright by the use of pounded pumice- 
stone and a sponge, usually fastened 
to the frame by a short string. Glass 
was also employed at a later period 
for the mirror. The annexed wood- 
cut represents two originals of silver, 
both found at Pompeii, one of a cir- 
cular shape, the most usual one, with 
a short handle for holding it up, when 
used, in the manner exhibited by the 
female figure, from a painting in the 



614 



SPEC US. 



SPICULUM. 



same city ; the other, of an oblong 
square form, intended to be held by 
one slave before her mistress, whilst 
others adjusted her toilet, as is 
often represented on Greek vases and 
other works of art ; but the dressing- 
mirror made in a . frame to stand upon 
the table, as a piece of furniture, like 
the modern ones, has not been met 
with. 

2. A looking-glass (Plin. H. N. 
xxxvi. 66. ), covered at the back with 
tin and lead (Beckman, History of 
Inventions, vol. ii. pp. 69 — 76.), and 
employed as a piece of ornamental 
furniture, like our pier-glass, con- 
sisting of a mirror as tall as the hu- 
man body (Senec. Q. N. i. 17.), 
sometimes permanently fixed to the 
wall (Ulp. Dig.- 34. 2. 19. § 8. ), at 
others arranged in such a manner 
that it could be drawn, up and down 
to different levels, like a_ sash. Vi- 
truv. ix. 8. 2. 

SPEC'US (cnreos).' Literally, a 
cave or cavern ; whence transferred 
to the dark, covered channel which 
forms the water-way in an aqueduct 
(Front. Aq. 17. 21. 91. Vitruv. viii. 



r-fipiov). An apartment for playing 
the game at ball, attached to the 
Gymnasia, Thermce, and other places 
of public resort, as well as to the 
private mansions of wealthy people ; 
and as the players at this game were 
usually stripped, it was frequently 
warmed by flues from a furnace 
{hypocausis) underneath the floor. 
Plin. Ep. ii. 17. 12. Id. v. 6. 27. 
Suet. Vesp. 20. Lamprid. Alex. 
Sev. 30. 

SPH,EROMACH'IA {(Tcpaipo- 
/xax'ia)- A match at the game of 
ball. Senec. Ep. 80. Stat. Sylv. iv. 
Preef. 

SPI'CA TESTACEA. An ob- 
long brick, employed by the Romans 

! for making floorings (Vitruv. vii. 1. 

j 5.) ; so termed because each one was 
arranged in such a manner as to 
imitate the setting of the grains in an 

' ear of corn {spied), as shown by the 

j example, from an ancient flooring in 

! the Thermae of Titus. A pattern of 
this description was termed spicata tes- 

j tac'ea (Vitruv. vii. 1. 4. Plin. H. A T . 

j xxxvi. 62.), which answers to our 





























7. ), as shown by the part marked A 
in the illustration, representing a 
portion of the Alexandrine duct now 
existing at Rome. It was sometimes 
tunnelled through a hill, at others 
raised upon one or more tiers of 
arches, accordingly as the level of 
the . source, or the undulating nature 
of the country required ; and in some 
cases two, and even three, of these 
channels were carried, one above the 
other, over the same file of arches. 
SPILERISTE'RIUM {<r<paipi<r- 



expression herring-boned ; for we, as 
well as the modern Italians, who call 
it a spina di pesce, deduce the resem- 
blance from the set of the bones in a 
fish's back. 

SPI'CULUM (\6yxv)- The barbed 
head of an arrow or spear (Ov. Met.. 
viii. 375. Hor. Od. i. 15. 17. Celsus, 
vii. 5. 2. Ammian. xxv. I. 13.) 
which presents several jagged 
points like those in an ear of 
corn {spied), as exemplified by 
the annexed example from the 
arch of Constantine. Hence 
the Latin and the Greek words 
are frequently used in the plural to 
include the point with its barbs. . 

2. In later times synonymous with 
Pilum. Veg. Mil. ii. 15. 



SPINA. 



SPIRA. 



615 



3. {aavpwT^p, ovplaxos, crriipa^.) j arid dolphins [delphinornm columnar), 



The point attached to the butt-end of 



a lance or a spear (Gloss. Vet. ap. 
Alstorp. de Hast. p. 68.), which 
served for fixing it upright in the 
ground (Virg. AZn. xii. 1 30.), or 
might be used offensively, if the 
regular point (cuspis) got damaged or 
broken off. (Polyb. vi. 25.) We 
have no express authority, beyond 
that of the glossary cited, for this 
usage of the term in Latin ; but the 
Greek names are thoroughly authen- 
tic, as well as the object itself, which 
is represented at large by the top 
figure in the annexed wood-cut, from 
a fictile vase ; while the lower one 
shows the spear complete, with its 
regular head on the left end, and 
pointed butt on the right. In early 
times the Roman lance had no ad- 
junct of this kind ; but was adopted 
after contact with the Greeks (Polyb. 
/. c. ) ; which may perhaps account 
for the circumstance of there not being 
any distinct term in the Latin lan- 
guage to designate it. 

SPI'NA. The barrier of a race- 
course (Cassiodor. Var. Ep. iii. 51. 
Schol. Vet. ad Juv. Sat. vi. 588. ) ; a 
long low wall extending lengthwise 
down the centre of the circus for 
about two-thirds of its length, and 
which received the present name 
from the similarity of its position to 
the spine or dorsal bone in animals. 
The object of it was to determine the 
length of the course, and hinder the 
chariots from coming into collision 
front to front, as they had to run 
seven times round it at each race. 
The goals {metce), round which they 
turned, were situated at a small dis- 
tance from each of its ends ; and the 
whole length of the wall was deco- 
rated with various objects on its top ; 
an obelisk in the centre, statues of 
the deities, an altar, and columns on 
which the eggs .{ova curricidoruni) 



intended to announce to the spectators 




the number of courses ran, were put 
up. The whole of these objects are 
exhibited in the illustration from an 
engraved gem, which represents an 
elevation of the spina, with one side 
of the course and the racing chariots 
in it. The position it occupied in 
the general building, and relative 
length in regard to it, will be seen by 
referring to the ground-plan of the 
circus of Caracalla (p. 165), on 
which it is marked B. 

SPIN'THER(or<pi7KT^>). A par- 
ticular kind of bracelet, worn by 
females on the left 
arm (Festus s. v.) ; 
made of gold (Plaut. 
Men. iii. 3. "].), and 
without any clasp ; 
but retaining its place 
on the arm of the 
wearer by the natural elasticity of its 
own pressure. From this peculiarity 
the name arose, in allusion to the 
action of the sphincter muscle, which 
naturally remains in a state of con- 
traction. The illustration is from an 
original of gold, which possesses all 
the elastic property described. 

S P I' R A (cnrtTpa). A circular 
body forming a succession of twists 
6r coils ; whence the following 
special applications. 

1. A coil of ropes. Pacuvius ap. 
Fest. j. v. 

2. An ornament worn by women, 
which appears to have been a sort ot 
wreath with many pendants to it, 
twined and interlaced round the head, 
like the coils and heads of the ser- 
pents commonly represented on the 




6i6 



SPIRULA. 



SPONDA ULES. 



on the 
ix. ;S. 



which 
Salian 




edge of Minerva's &gis, and 
head of Medusa. Plin. H. N 
Compare Val. Flacc. vi. 396. 

3. The string or tie with 
the bonnet (ga/erus) of the 
priests was fastened under 
the chin, as exhibited by 
the annexed wood-cut, 
from a marble bas-relief 
of Roman sculpture. Juv. 
viii. 20S. 

4. A particular kind of biscuit or 
pastry, made in a spiral form. Cato. 
R. R. 77- 

The base of a column (Festus 
Vitruv. hi. 5. Plin. H. N. 
. 56.), which rests upon the 
plinth ( plinthus), or upo 1 a continued 
basement {podium) instead of a plinth. 
In its simplest form it consists of a 
single torus surmounted by an astra- 
gal, as in the Tuscan and Roman 
Doric orders ; or of an upper and 
lower torus, divided by a scotia and 
fillets (quadra;), and with or without 
the astragal, as in the annexed 



s. v. 

xxxvi 



example, representing a very beautiful 
and simple specimen, now known as 
the "Attic base,"' in which form it 
was applied to the Ionic and Co- 
rinthian orders. The Greek Doric 
had no spira. 

SPI'RULA. Diminutive of 
Spira, 5. (Serv. ad Virg. JEn. ii. 
217.); of Spira, 4. (Arnob. ii. 73). 

SPLENIA'TUS. Covered with 
patches of sticking-plaster (splenium). 
Mart. x. 22. 

SPLE'XIUM {(tttAwiov). An ad- 
hesive plaster, spread upon white 
linen or leather (Plin. Ep. vi. 22. 
Ov. A. Am. iii. 202.), and worn in 
patches upon the face to conceal any 
defect, sore, or scar (Mart. ii. 29. 10. 
Id. viii. 33. ), like our sticking-plaster. 

SPOLIA'RIUM. An undressing 
room, in which the arms and clothing 



were stripped from the gladiators 
who were slain in combat (Senec. 
Ep. 93. Lamprid. Commod. 18. and 
19. Inscript, ap, Grut. 489. 12.); 
whence the term is also applied gene- 
rally to any place in which a person 
is plundered or murdered. Senec. 
Prov. 3. 

2. An undressing room in a set of 
baths (Gloss. Isidor.) ; same as Apo- 
dyterium ; but this usage of the 
word rests upon no other authority 
than the one cited. 

SPON'DA {evriharov). Any one 
of the four bars in the frame of a 




sofa, or a bedstead (lectus), to which 
the cords supporting the mattress 
[torus) are affixed (Pet. Sat. 97. 4. 
Ov. Met. viii. 656), as exhibited by 
the above example from the device 
on a terra-cotta lamp. But when the 
bedstead or sofa was furnished with 
sides and a backboard ( pluteus), as in 




the annexed example from a Roman 
bas-relief, the open rail or front, at 
which the occupant got into it, was 
termed sponda more expressly (Mart, 
iii. 91. Hor. Epod. iii. 22.), and 
the part against the back sponda 
interior. Isidor. Orig. xx. 1 1. 5. 
Suet. Clts. 49. 

2. A couch or bier upon which 
the dead were carried out. Mart- 
x. 5. 9. 

SPONDAU'LES (<tttovZ*v\tis). A 
musician who played an accompani- 
ment upon a pair of long pipes (tibia 



S PONS A. 



SPOK TULA 



617 



longa) (Marius Victorin. I. 2478. 
Diomed. iii. 472.) to the hymns 
which were sung at the sacrifice 
during libation, as shown by the an- 
nexed illustration from the column 




of Trajan. The minister (camillns) 
stands in front of the altar with the 
incense box {acerra, hence libare 
acerra), the spondaides with a pair 
of pipes behind him, and Trajan 
with a patera on the right side, the 
left of the group in the original com- 
position being occupied by the popa 
and the victim. 

SPON'SA, SPON'SUS. A be- 
trothed couple ; but not yet married. 
Amongst the Romans young per- 
sons were frequently betrothed to each 
other long before the marriage was 
intended to take place ; and the cere- 
mony was performed in presence of the 
relatives and friends of both parties, 




when the marriage contract {spon- 
salid) was signed by the affianced 



pair, who then mutually joined hands, 
and pledged themselves to one an- 
other, as represented by the illustra- 
tion, from a Roman bas-relief ; the 
man then put a ring on the finger of 
his betrothed for a token of fidelity. 
The woman was termed sperata y 
during courtship ; pacta, when 
the lover had made his proposals, 
and been accepted by the girl 
and her father ; sponsa, when they 
had mutually pledged their faith ; 
and mipta, when a bride. Non. s. v. 
P. 439- 

SPOR'TA(o-7rupi / s). Around plaited 
basket, with a small flat bottom, and 
handles on the top for the purpose of 
suspending it from the arm, or on a 
pole {juguni), when carried with its 
contents from place to place. It was 
employed for many uses (Columell. 
viii. 7. 1. Varro ap. 
Non. s. v. p. 177. 
Plin. //. N. xxi. 
49.), and especially \% 
as a fishing-basket. 
(Mart. x. 37. Al- 
ciphr. Ep. i. 1., and 
wood-cut s. Hami- 
OTA.) The example is from the 
statue of a young fisherman, in the 
Royal Neapolitan Museum. 

SPORTEL'LA (tnrvpiZiov). Di- 
minutive of S porta ; especially a 
small basket in which cakes, fruit, 
and eatables were handed round at 
table. Pet. Sat. 40. 3. Cic. Fam. ix. 
20. Suet. Do?ji. 4. 

SPOR'TULA (crnvpiliop). Di- 
minutive of S porta ; a small fishing- 
basket (Plaut. Stick, ii. 2. 16. Apul. 
Met. I. p. 19.), like the preceding 
example. It would appear that bas- 
kets of this description were also em- 
ployed for handing round certain 
kinds of eatables at table ; whence 
the term was adopted to signify a 
dole, consisting of a small basket of 
provisions, given by great personages 
to their clients and retainers, as a 
substantial return for the court paid 
to them, when they assembled at the 
great man's door to make their daily 




6i8 



SPUMA. 



STADIUM. 



compliments. Latterly, as manners 
grew more refined and morals less 
so, the dole of provisions was com- 
muted for a sum of money ; whence 
a gift or present of any kind was also 
termed a sportula. Juv. iii. 294. 
Mart. xiv. 125. Plin. Ep. ii. 14. 4. 

SPU'MA (sc. causlica or Batavd). 
A pomade, manufactured by the 
Germans and Gauls, from goats' 
tallow and beech-wood ashes, and 
employed for the purpose of giving a 
light brown tinge to the hair. Mart, 
xiv. 26. Id. viii. 33. 20. Also termed 
Sapo. 

SQUA'MA (XtirU, (po\is). See 
Lorica, 3. and 4. 

. STABULA'RIUS. A livery -stable 
keeper, who keeps a set of stables, and 
takes in horses to bait. Ulp. Dig. 4. 
9. ii Caius, id. 

2. An inn-keeper, or master of a 
stabulum, which afforded, accommo- 
dation for 4 1 man and beast. " Senec. 
Ben. i. 14. Apul. Met. i. p. 13. 

STAB'ULUM (ara6^6s). In a 
general sense, any standing-place 
(from stare) which serves as an 
abode or shelter- for man or beast ; 
as a stable for horses (Virg. Georg. 
iii. 184. Equile) ; a pen or fold for 
sheep and goats {lb. iii. 295. s£,ii. x. 
723.) ; a shed or stall for oxen (Colu- 
mell. vi. 23. Bubile) ; an aviary for 
poultry and domestic birds (Columell. 
viii. 1. 3. Ornithon. Chors) ; a 
.shed for bee-hives (Id. ix. 6. 4. 
Apiarium) ; a stock pond for fish. 
(Id. viii, if.. 7. Piscina.) 

2. (na.vhoKsl.ov). An inn ox public- 
house, for the temporary accommo- 
dation of travellers. (Pet. Sat, vi. 
8. Id. xvi. 4, Plin. Ep. vi. 19. 4.) 
A distinction between the stabulum 
and caitpona is drawn in the Pandects 
(Ulp. Dig. 4. 9. 1.), though without 
any particulars to explain the differ- 
ence. But to judge from the general 
meanings of the two words, and the 
particular applications given to them, 
we may conjecture that the latter was 
only intended for the reception of 
lodgers who travelled on foot, the 



I former for the accommodation of the 
! horse as well as its rider. Such 
a distinction, would be perfectly com 
I sonant with our own customs, since 
the keepers of many public-houses 
at this day do not take horses 
in to bait ; but amongst the Ro- 
i mans it would be the more neces- 
j sary, as the great majority of travel- 
lers journeyed on foot, and those 
who were wealthy enough to use 
horses and carriages, generally took 
advantage of private hospitality, in- 
! stead of resorting to an inn, A sta- 
\ bulum, thus understood, would then 
be an establishment of much less 
common occurrence than the caupona, 
and probably always opened on the 
roadside, or near the entrance of a 
town, a: which persons coming from 
the country could put up their horses 
and carriages, without driving them 
through the streets ; whereas the cau- 
pona was mostly in the heart of the 
city. This notion is further confirmed 
by the discovery of an inn for man 
and beast, just outside the gates of 
Pompeii, on the road toHerculaneum, 
having a very large range of stables 
attached to it, in which the skeleton of 
an ass was found, as well as several bits, 
wheels, and other pieces of harness. 

STADIOD'ROMUS (aradiodpS- 
fxos). One who runs a race in the 
Greek stadium. Plin. H.N. xxxviii. 
19. § 3- 

STAD'IUM {o-rdhiov). A race- 
course for foot-racing, so named 
because the famous race-course at 
Olympia measured exactly one stade 
(o-rddiov), which contained 600 Greek 
feet, equal to 6o6| English, and about 
one-eighth of a Roman mile, A course 
of this description usually formed one 
of the principal appendages to the 
Greek gvmnasia and Roman thermce, 
and in these other athletic contests, 
as well as foot-races, were exhibited ; 
but separate and isolated structures 
were also laid out for the same pur- 
pose. In its general plan the stadium 
approximated very closely to the 
Greek hippodrome and the Roman 



STALAGM1UM. 



STAMEN. 



619 



circus, without the barrier {spina) 
and stalls {cweeres), forming a narrow ! 
oblong area, terminated in a semi- \ 
circle at one end, and by a straight 
line at the other, the seats for the 
spectators being sometimes excavated j 
on the slope of a hill, sometimes 
formed upon an artificial embankment 
of earth, or raised upon arches of 
masonry and brickwork like the Ro- 
man circus. The names appropriated 
to the several parts were the same as 
those employed for the hippodrome ; 
with the exception of the circular 
end, which had a special term of its 
own, being called the cnpevSovr] [fun- 
da), either from its elliptical figure, 
or its resemblance to a sling, or to 
the bezel of a ring; but this was not 
used in the foot-race, for the 600 feet 
comprised in the length of the stadium 
extended only as far as the straight 
sides of the enclosure, from A, the 
starting-place {aQeais), to the two 
angular projections of masonry which 



terminate the a<p€iS6u7], marked B. 
The illustration represents the ground 
plan of a stadium at Cibyra (now Bu- 
raz) in Lycia, still in considerable pre- 
servation ; to which nothing is added 
but the two projecting walls, near the 
circular extremity on the inside, for 
the purpose of showing the vqtvhovri, 
and these are copied from existing 
remains in the stadium at Ephesus. It 
stands on a hill-side, from which a 
certain portion is cut away to form a 
long flat terrace, having its outer 
edge bounded by a walled embank- 
ment represented by the double lines 
on the top of the plan, and suffici- 
ently deep to carry several rows of 
seats arranged along it ; the opposite 
side, and the circular end is exca- 
vated out of the slope of the hill, 
which is cut into twenty-one rows of 
seats,, rising like steps one above the 
other, and subdivided by staircases, 
in, the same manner as the cavea of a 
theatre or amphitheatre. 




STALAG'MIUM. An ear-ring, 
furnished with one or more drops of 
gold, pearls, beads, or precious 
stones, which depend from it 
and imitate the shape of a drop 
of water {crraKayixa), which is 
the meaning of the Greek word 
after which the Latin one is 
formed. (Festus s. v. Plaut. 
Men. iii. 3. 18.) The annexed 
illustration affords an example, 
from an original in the British Mu- 
seum. 

STA'MEX ((ttti^uv). A spun 
thread (Ov. Her. iii. 76.); consisting 
of several fibres drawn down from 
the top of the distaff {coins ; deducere 
stamina colo. Tibull. i. 3. 86.), and 



twisted together by the thumb {stamina 
pollice t07-quc. Ov. Met xii. 475,) 
and the rotary motion of the spindle 
{fusns), as it hung in a perpendi- 
cular line from the distaff, the up- 
right position 
suggesting the 
name. All 
these particu- 
lars are dis- 
tinctly illus- 
trated by the 
wood-cut, re- 
presenting a 
female spin- 
ning, from a 
Roman bas- 
relief. 




620 STAPES. 



STA TORES. 



! 1 1 



2. The warp or warp-threads in an 
upright loom, at which the weaver 
stood instead of sitting. 
(Varro, Z. Z. v. 113. 
Ov. Met. vi. 54. 55. 
58. Senec. Ep. 90.) 
They were extended 
in a perpendicular di- 
rection from the warp- 
beam [ihsubulum), or 
from the yoke of the 
loom (jugum), as ex- 
hibited in the annexed figure, repre- 
senting Circe's loom in the Vatican 
Virgil; and formed the groundwork 
into which the threads of the woof 
{subtemeii) were inserted ; whence the 
term is also given to any thing made 
of thread, as a garment (Claud, in 

Euirop. i, 304. ) ; or a fillet round the 
head. Prop. iv. 9. 52. 

3. The strings of a lyre (Ov. Met. 
xi. 169.); so named from the resem- 
blance which they bore 
to the warp-threads of 
an upright loom, as 
exhibited by the an- 
nexed figure from a 
painting in the Naso- 
nian sepulchre near 
Rome. 

STAPES or STAPIA. A word 
found in some inscriptions, evidently 
not of an early character, in which it 
signifies a stirrup. It appears to be 
formed from the German staff, a step ; 
and though inserted in the Latin dic- 
tionaries is to be considered as a word 
of modern invention, for which there 
is no ancient authority. Compare 

SCALA, 4. 

STATE'R A A steel-yard; an 
instrument of much later invention 
than the balance [libra). It consisted 
of the yard [sea pus) divided into 
fractional parts by points (puncla), 
and suspended from above by a hook 
or chain, called the handle {a7isa). 
The short end of the yard was fur- 
nished with a hook, to which the 
objects to be weighed were fixed, and 
sometimes with a scale {lancula) for 
holding; them ; the longest end, on 



the other side of the point of sus- 
pension, with a sliding weight {cequi- 




pondiuni). Vitruv. x. 3. 4. The 
whole of these particulars mentioned 
by Vitruvius are exhibited in the an- 

1 nexed figures, both from originals 

i discovered at Pompeii. 

2. Sometimes used without discri- 
j mination for libra, a balance. Pet. 

\ Sat 35. 4. Suet. Vesp. 25. 

3. A cur?-icle bar or yoke, placed 




across the withers of a pair of horses, 
and to which the pole {tevid) was 
attached, as in the annexed example 
from a painting at Pompeii. Stat. 
Sylv. iv. 3. 35. 

3. A kind of dish, probably of a 
flat circular form, like the scale ap- 
pended to the steel-yard in the first 
example. Corn. Nepos. ap. Plin. 
H. N. xxxiii. 52. 

STATO'RES. Officials or public 
servants who attended upon Roman 
magistrates in the provinces, and more 



STATU A. 



STILUS. 



621 



especially employed for carrying let- 
ters, messages, dispatches, &c. (Cic. 
Earn, ii. 17. ib. 19. x. 21.) Their 
office was abolished by Septimius 
Severus, and the duties discharged 
by them transferred to the military. 
Lamprid. Alex. Sev. 52. Ulp. Dig. 
1. 16. 4. 

STATU A (avSptds). The statue of 
a man, as distinguished from si°nwn, 
the statue of a deity. Plaut. Bacch. 
iv. 3. I. Cic. Pis. 38. 

STEGA (artyr)). A word merely 
transferred from the Greek, signifying 
the deck of a ship (Plaut. Bacch. ii. 
3. 44. Id. Stick, hi. I. 12.) ; for 
which the Romans use the expression 
Constratum navis, under which an 
illustration is given. 

STE'LE (0-T17A.7?). A word merely 
transferred from the Greek (Plin. 
H. N. vi. 32.) ; for which the genuine 
Latin term is CiPPUS. 

STEM MA (o-re^a). Properly 
speaking a Greek word, in which 
language it signified a garland or 
wreath bound round with fillets of 
wool, and worn as a chaplet on the 
head, or employed as a decoration for 
other objects, as well as the person 
(Corona Infula). But the Romans 
adopted the term in a more special 
sense to designate a long scroll deco- 
rated with garlands, and having a list 
of the family names emblazoned on 
it, which it was customary to hang 
upon the ancestral busts, as they 
stood in their cases (cediculce) round 
the atrium (Plin. H. N. xxxv. 2. 
Senec. Ben. iii. 28. ) ; whence the 
word came also to signify a genea- 
logical tree, pedigree, or lineal stem. 
Suet. Galb. 2. Nero, 37. Mart. v. 
35- 

STEREOB'ATA. (Vitruv. iv. 
3. 1.) Same as Stylobata. 

STIBAD'IUM. A circular 
dining-couch, adapted to a round 
table (Plin. Ep. v. 6. 36. Mart. xiv. 
87. Sidon. Ep. i. 11. Serv. ad Virg. 
JEn. i. 698.) ; otherwise called 
Sigma. 

STIG'MA (crrtVa). Literally, a 



mark made by puncture ; whence, a 
brand, or mark pricked into {script um 
and inscription, Quint, vii. 4. 14. 
Sen. Ben. iv. 37.), or stamped upon 
(impressum, Pet. Sat. 105. 11.), the 
forehead of a slave (Id. 103. 2 and 
4.), convicted of thieving, running 
away, &c. A single letter, such as 
j F, for fur, might in some cases be 
deemed sufficient for the purpose ; 
but the last passage cited from Pe- 
| tronius expressly mentions an entire 
j word, if not a sentence, in large 
i letters covering the face. 

2. A mark pricked into the arm 
i of conscripts (Veg. Mil. i. 8. Id. ii. 
! 5.) after they had been approved as 
j capable of military duty, in order that 
j they might be called out when re- 
quired ; and likewise upon labourers 
I employed in the state factories to 
! prevent them from deserting their 
employments, atnd accepting Avork 
from other mas ers. (Impp. Arcad. 
et Honor. Cod. 1 1. 9. 3.) The 
same was sometimes pricked on the 
hand. Imp. Zeno, Cod. 42. 10. 

STIGMAT'IAS ((rnyfxarias). A 
slave marked with the stigma. Cic. 
Off. ii. 7. 

STIGMO'SUS. (Pet. Sat. 109. 
8.) Same as the preceding. 

STIL'US or STYL'US (ypacpis). 
An instrument made of iron or bone 
j (Isidor. Orig. vi. 9.), pointed at one 
j end, but having a broad fiat blade at 
I the other (Sympos. AZnigm. I.), and 
j employed for writing upon tablets 



covered with a thin coat of wax 
(Plaut. Bacch. iv. 3. 79. and 91.). 
The point served for tracing the 
letters, and the flat end for making 
corrections by smoothing over the 
surface of the wax so as to obliterate 
the writing, whence the expression 
vertere stilum (Hor. Sat. i. 10. 72.) 
means to erase or correct the compo- 
sition. Scholars generally trace the 
word to the Greek one, cttvAos, a 
pillar ; but as the best Latin autho- 



622 STIMULUS, 



STL A TA. 



rities spell it with an i instead of 
and the Latin penult is short, while 
the Greek one is long, it is more pro- 
bable that it comes from CTeAex ^ a 
stalk, which is also one of the mean- 
ings of the Latin stilus (Columell. 
xi. 3. 46. v. 10. 2. ). 

2. Stilus ctecus ; the spike of a 
caltrop, which was placed upon the 
ground, so that it would be concealed 




I 



by herbage, while it effectually dis- 
abled cavalry from advancing. (Hirt. 
B. Afr. 31. Sil. Ital. x. 414.) The 
example is from an original. 

3. The pin or index of a sundial 
(Mart. Capell. vi. 194.) ; otherwise 
called Gnomon*, under which an ex- 
ample is given. 

4. A bronze needle, or sharp- 
pointed rod, employed for destroying 
maggots and insects in fruit trees. 
Pallad. iv. 10. 20. 

5. A wooden probe employed in 
the kitchen garden for inoculating 
the seed of one plant into the pithy 
stalk of a different species. Columell. 
xi. 3. 53. 

STIM'ULUS {Keurpou). A goad 
or stick with an iron prick at the end, 
employed for driving animals, oxen, 

horses, mules, and slaves. Tibul. i. 
1. 10. Columell. ii. 2. 26. Sil. Ital. 
vil 702. Plant. Most. i. I. 54.) The 
example is from a terra-cotta at Vel- 
letri, after Ginzrot. 

2. Stimulus cuspidatus rallo. A 
goad with a spud [ralluvi) affixed to 
one end, which was employed by the 



ploughman in cleansing the plough- 
share, as the point was for driving 



his oxen. Plin. H. N. xviii. 49. § 2. 
The example is from an Etruscan 
bronze. 

STI'PES (a-Tviros). A round stake 
fixed in the ground (Festus 
s. v.) ; as a land mark (Ov. 
Fast. ii. 642.) ; as a stay for 
tethering other things to (Id. |j 
iv. 331. Suet. Mero, 29.), or 
for supporting them, as in the 
annexed example from the 
column of Trajan, which re- 
presents the manner #in which 
the soldiery piled their helmets and 
shields when engaged upon field 
works, making fortifications, &c. 

2. A stake set up for practising 
recruits at their exercises (Mart, vil 
32.) ; same as Palus. 

STI'VA (6X€tAtj). The plough- 
staff, or handle of a plough ; consist- 
ing, in its simplest form, of a single 
upright branch (Varro, L. L. v. 135.), 
forming part of the same piece as the 

*0i 




plough-tail {buris), which the plough- 
man held in his left hand to guide 
the machine, or pressed down to 
make the share penetrate the ground, 
in the manner shown by the annexed 
example, from a Roman bas-relief ; 
which also graphically illustrates such 
expressions as stivce pcene rectus inni- 
titur (Columell. i. 9. 3.) ; stivce in- 
nixus (Ov. Met. viii. 218.) ; slivam 
premens (Id. Fast. iv. 826.). Other 
plough-staffs, upon a more improved 
plan, are exhibited under the words 
Aratrum and Bura. 

STLA'TA. A particular kind of 
sea-going vessel (Aul. Gell. x. 25. 
Auson. Ep. xxii. 31.), constructed 
with an unusual breadth of beam, 
and lying low upon the water (Fes- 



STOLA. 



STRAGULUM. 623 



tus s. v.) ; characteristics which are 
not sufficiently apparent on any an- 
cient monuments to afford a trust- 
worthy example. 

STOL'A. A female robe, which 
constituted the characteristic feature 
in the attire of a Roman matron, as 
the toga did in that of the male sex 
(Pet. Sat. 81. 5. Compare Cic. Phil '. 
ii. 18, though in the latter passage 
the reading has been controverted). 
It was a tunic made very full, and 
sometimes with long sleeves ; at 
others with short ones, fastened down 
the fleshy part of the arm with clasps, 
but put on as an indumentum (Senec. 
Vit. B. 13, ), over the chemise (tunica 
intima), and fastened with a double 
girdle {succincta, Enn. ap. Non. p. 
198.), one under the breast, and the 
other over the hips, so as to produce 
an ample display of small irregular 
folds {rugce, Mart. hi. 93.) when com- 
pressed by and drawn through its 
ligatures. Thus 
far the stola 
does not ma- 
terially differ 
from the outer 
tunic usually 
worn by the 
Roman ladies. 
But what con- 
stituted its dis- 
tinguishing fea- 
ture was an ap- 
pendage termed 
inslita, the spe- 
cial character of 
which is investigated under that 
word, and appears, together with the 
garment to which it was attached, to 
be exemplified by the long train de- 
pending behind, and covering the back 
part of the feet of the annexed figure, 
from a painting in the Thermse of 
Titus, supposed to personify Veturia, 
the mother of Coriolanus. 

2. (o-toA^). The Greek? made use 
of the term in a more general sense, 
applying it to any kind pf robe worn 
by men as well as women ; and in 
this they were followed by the elder 





Latin writers. Ennius ap. Non. s. v. 
P- 537- 

3. A long and loose flowing tunic 
worn by musicians (Varro, R. R. iiL 
l 3- 3-)> an d possess- 
ing considerable re- 
semblance to the 
female robe described 
above, for it was of 
considerable length, 
and made much wider 
at bottom than at 
the top, so that it 
would trail on the 
ground behind, as if 
there were an instita 
attached to it. The 
illustration, from a 
statue of Apollo in 

the Vatican, will establish the above- 
mentioned affinity, and thus account 
for the name ; though it was more 
commonly termed palla citharcedica. 

4. At a later period, a robe worn 
by certain priests (Apul. Met. xi. 
p. 257.) ; probably of a similar cha- 
racter to the last example. 

STOLA'TA. Wearing the robe 
of a Roman matron (Pet. Sat. 44. 
18.), as described and illustrated s. 
Stola, I. ; particularly as indicative 
of a chaste and virtuous female 
(whence pudor stolatus, Mart. i. 36.), 
because women of abandoned charac- 
ter, or who had been divorced on 
the ground of adultery, were not per- 
mitted to wear that article of attire. 

STOR'EA and STO'RIA. A 
covering or a mat, made of rushes or 
string. Cses. B. C. ii. 9. Liv. xxx. 
3. Plin. H. N. xv. 18. § 1. 

STR A'GULUM (arp^a). A 
general term for any thing which is 
spread out or over something else, to 
make an under coverlet for lying upon; 
more particularly applied to the 
articles used for laying over the 
mattress of a sleeping bed (Cic. 
Tusc. v. 21. Varro, L. L. v. 167. 
Senec. Ep. 87. ) ; or a bier upon 
which the corpse is laid out (Pet. Sat. 
42. 6. Id. 78. 1.) ; in all which pas- 
sages the term is used to distinguish 



624 STRA TOR. 



STRIATUS. 



the under sheet or blanket upon which 
the body reposes, as contradistinct 
from the upper one, or coverlet {operi- 
mentum, opertorium), thrown over it. 

2. (eVt^ArjMa. ) A caparison for 
riding horses (Mart.*xiv. 86.) ; placed 
under the padsaddle [ephipphim), or 
used instead of it, and consisting of 
the furred skin of some wild beast, 
such as the lion or tiger (Virg. sEn. 
viii. 553. Sil. Ital. v. 148.), of suffi- 




cient size to cover nearly the wh >le 
body of the animal (Virg. /. c), like 
the sheep-skins of our heavy cavalry, 
and the example above from a Greek 
coin ; or without the fur, and then 




made of leather covered over with 
scale armour (Virg. JEn. xi. 770.), 
like the present example from the 
Theodosian column, which exactly 
resembles in its outline the caparisons 
now used in our light cavalry regi- 
ments. 

STRA'TOR {ava$o\eis). A 
soldier who acted as military groom, 
or equerry to the emperor, and to a 
consul or praetor in the Roman armies 
(Ulp. Dig. i. 16. 4.) ; it being his 



duty to purchase cavalry horses for 
the service of the commander (Am- 
mian. xxix. 3. 5. ), as well as to saddle 
them, lead them out, and assist the 
officer in mounting (Id. xxx. 5. 19. 
Spart. Caracal!. 7. ), as stirrups were 
not brought into use until a very late 
period. The illustration represents 
an equerry of this description, holding 
the emperor's horse, from the column 
of Trajan. He wears the military 




cloak, pahidamenttim, thus indicat- 
ing that his rank was considerable. 
Other examples are frequently re- 
presented on the triumphal arches 
and columns, both with and without 
this cloak, though always in military 
costume ; but civilians of rank and 
fortune also kept servants who per- 
formed the same duties, and went by 
the same designation. 

STRE'NA. A present which the 

! Romans were accustomed to send to 

\ one another on a festal day, or clients 
to their patrons, and citizens to the 

1 emperor ; more particularly on the 

J calends of January, as a nruj year's 

! gift. Festus s. v. Suet. Aug. 57. Id. 

I Cal. 42. 

STRIA (pd&os, ^vtrrpis). The 

\ flute of a column, including the list 
or fillet between two channels, as 

I well as the channel itself. Vitruv. 

1 hi. 5. 14. Id. iv. 4. 2. 

! STRIATU'RA (jS^Wis). The 

fluting of columns. (Vitruv. iv. 3. 

i "9. ) Stria. 

STRIA'TUS (poj88«To's). Fluted, 

I like a column. Vitruv. vii. 5. 3. 



STRIGILECULA. 



STROPHIUM. 625 




STRIGILE CULA {arteyylhw). 
(Apul. Fior. ii. 9. 2.) Diminutive 
of 

STRIGTLIS (aT\eyy'is, ^varpis). 

A strigil or scraper, employed in 
Greece and Italy for scrap- 
ing off the moisture and 
impurities thrown out upon 
the surface of the skin by 
the heat of the vapour bath, 
or the violent exercise of 
the palaestra. (Cic. Fin. 

iv. .12. Suet. Aug. 80. Pers. 

v. 126.) It was made of 
iron or bronze, with a han- 
dle, into which the hand 
could be inserted {clausula), 
and a curved blade (Mart. xiv. 51.] 
hollowed into a channel {tulndatio), 
down which the moisture and per- 
spiration wculd flow as in a gutter 
(Apul. Flor. ii. 9. 2.). When used, 
the edge was lubricated with a few 
drops of oil {uuclus, Juv. hi. 262.) to 
prevent abrasion of the skin. The 
example, which possesses all the pro- 
perties enumerated, is copied from 
an original of bronze, discovered at 
Pompeii, together with three others, 
upon a ring, which also held an oil 
flask {ampulla), and a shallow pan with 
a handle {scaphium) ; the whole as 
m entioned by Plautus {Pers. i. 3.44.). 
The method of using it is shown by 
the woodcut s. Aliptes. 

2. (wT67x^T77s.) A surgical in- 
strument for introducing lotions into 
the ear (Celsus. vi. 7. Plin. H. A r . 
xxv. 103.) ; which may be readily 
imagined to have received the name 
from being formed with a hollow 
channel down its length, like that of 
the scraper above described. 

STROMA {(rrp&fia). (Capitol. 
Ver. 4. ) A Greek word, correspond- 
ing with the Latin Stragulum ; 
which see. 

STROPHIA'RIUS. One who 
makes and sells strophia. Plaut. 
Aid. hi. 5. 42. 

STROPH'IOLUM. Diminutive 
of Strophium. A small chaplet or 
twisted band for the head. Plin. 




H. N. xxi. 2. Tertull. Cor. Mil. 
I5 ' 

STROPH'IUM {(rr P 6(piop). A 
sash, or rather scarf {mitra), twisted 
or rolled up into a long, round, and 
even form {tereti 
strophio, Catull. lxiv. 
\ 65. <rrpoyyv\r] (uvr). 
I Hesych.), and fast- 
ened round the bust 
close under the 
; breast, to serve as a 
1 support to the bosom 
! for young women 
who had attained 
their full develop- 
ment. (Cic. Fragm. 
j ap. Non. j\ v. p. 538. 
Catull. /. c). It was not flat, nor 
was it worn next the skin, like the 
! bosom band {mamillare), but over a 
j little tunic or chemise {tunicida), as 
! is clear from a passage of Turpilius 
\ {ap. Non. /. c. ), in which a girl is 
1 introduced lamenting the loss of a 
j letter that she had deposited betwteu 
her chemise and strophium — intey 
I vias epistola cecidit mihi, Infelix, inter 
tuuiculam et strophium quam colloca- 
veram — and precisely as exhibited 
1 by the annexed figure, from a statue 
believed to represent a young Doric 
I female, dressed for the foot-race 
(compare Pausan. v. 16. 2., who 
there describes a costume of exactly 
the same character as the one here 
shown). A similar appendage is 
j frequently met with on statues and 
I other representations of Diana, the 
j huntress, which is unaccountably 
i mistaken for the cklamys. We may 
also infer from these peculiar in- 
stances, that it was not intended as a 
\ contrivance for compressing the form 
j artificially, nor worn by all females, 
! but only by those whose figures, or 
1 active habits of life, rendered such 
an assistance necessary. 

2. A wreath worn round the head, 
Virg. Cop. 31., where it is made ot 
roses ; see the wood-cuts s. Corona, 
1 10. and 1 1. 

cable of 

2 R 



626 STRUCTOR. 



STRUPPUS. 



Met. xi. p. 250. Ancoralk, and 
wood-cut s. v. 

STRUCTOR (Tpair^oirotts). A 
slave whose duty it was to arrange 
the several dishes of each course 
upon the trays {fercula, Serv. ad 
Virg. JF.n. i. 704. ). and place them 
in proper order in the dinner-basket 
[repositorhim, Pet. Sat. 35. 2.); 
sometimes also to take upon himself 
the office of carver (Mart. x. 48. 
Juv. v. 120.), and to set out in a 
tasty manner, or construct in artifi- 
cial devices, the fruits and delicacies 
of the dessert. Lamprid. Elag. 27. 

STRUCTU'RA. Generally, the 
putting together of things in regular 
order ; whence the term is specially 
applied to designate masonry, or the 
constructive arrangement of stones in 
a wall. (Vitruv. ii. 8. Plin. H. N. 
xxxvi. 51.) Six different styles are 
enumerated in the practice of the 
Roman and Greek architects, each 
presenting a distinct pattern to the 
eye, as exhibited in contrast by the 
annexed engraving; viz. 1. reticu- 



ashlar, e, bound together by girders, 
F, and the central part filled in with 
rubble, G ; 6. diamicton, which is the 
same as the last, without the girders. 

STRUPPUS {rpoTros, rpo-rrccT'rip). 
A twisted thong of leather, or cord,, 
by which the oar is fastened to its 
thowl {scdl?7?7is). (Vitruv. x. 3. 6. 





Liv. ap. Isidor. Orig. xix. 4. 9.) 
The contrivance is explained by the 
annexed wood-cut, which exhibits 
the manner of fastening the oars in 
the Mediterranean galleys of the 
1 6th century. 

2. The thong of a palanquin (lec- 
tica), (Gracchus, ap. Gell. x. 3. 2.) ; 
by which the conveyance was at- 
tached to its carrying-pole {asser), as 
an oar is to its thowl. It was fas- 
tened down [deligatus] to the shafts 
{amites), like the back-band of a 




lata, reticulated, which has a che- 
quered pattern, like the meshes of a 
net, A ; 2. ccementicia antiqua or in- 
certa, irregular masonry of stones, 
not squared nor cut into any certain 
form, B ; 3. isodomum, ashlar, of large 
stones, and in which all the courses 
are of the same height, C ; 4. psaid- 
isodomion, also ashlar, and of large ! 
stones, but in which the courses are 
of different relative heights, D ; 5. 
emplectoji, in which both the outside 
surfaces of the wall are formed of 



cart, and the carrying-pole passed 
through it ; which raised and sup- 
ported the carriage by resting on the 
shoulders of the bearers, in the man- 
ner represented by the annexed en- 
graving, which exhibits the mode of 
transporting a palanquin in China. 
Although the illustration is not from 
a genuine Greek or Roman model, 
little doubt will be felt that the con- 
trivance employed by those nation 
was the same, if reference be made 
to the wood-cut s. Phalangarii, 
which exhibits the same object ap- 
plied in a very similar manner to the 
transport of a butt of wine. 



STYLO B A TA. 



SUBJUGIUM. 627 



STYLOB'ATA or -ATES (arv\o. 
jSarVys). A stylobate or pedestal ; upon 
which a co- 
lumn, or row ? .-t^ksv, » La 
of columns, ^ 
is raised, in JJ • II 
order to 
lengthen or 
give an extra 
elevation to 
them. (Yi- 
truv. iv. 3. 
3. and 5. 
Varro, R. R. 



them at that tender age. (Fulgent. 





lii. 5. II.) A separate 
stylobate is sometimes placed under 
each column, as in the annexed ex- 
ample, representing the arch of Sep- 
timius Severus ; at others a long con- 
tinuous one is constructed, upon which 
the whole range rests ; as in the il- 
lustration s. Proxaos. 
STYLUS. See Stilus. 
SUA'RIUS (voBoo-KOi). A swine- 
herd (Plin. H. N. viii. 77.) ; a pig- 
dealer (Id. xxi. 7. Inscript. ap. Orelli. 
2672.). 

SUAVIL'LUM or SAVIL'LUM. 
A sort of sweet cake, made with flour, \ 
eggs, cheese, and honev. Cato, R. 
R. 84. 

SUBARMA'LE. An article of 
clothing, the precise nature of which 
is not satisfactorily ascertained. Some 
suppose it to be so termed from pass- i 
ing under one shoulder {annus), like 
an exotnis (see the wood-cut s. v.) ; 
others from being worn under the 
body armour {arma), like the eques- 
trian statue of X. Balbus (see the 
wood-cut s. Lorica, 2.), and many j 
of the soldiers on the triumphal 
arches and columns. Mart. Capell. 
v. 136. Spart. Sev. 6. Yopisc. Au- 
rel. 13. 

SUBCEXTU'RIO. An adjutant 
to the centurion, by whom he. was ! 
selected to watch over and protect 
his superior in the dangers of the 
field. Lav. viii. 8. 

SUBGRUXDA'RIUM. A place 
where infants who died before they 
had cut their teeth were deposited ; 
for it was not customary to burn 



s. v. p. 560. Compare Plin. H. AT. 
vii. 15. Juv. xv. 139.) The il- 
lustration is from a work on the 
antiquities of Cadiz, by Jo. Bapt. 
Suarez, which also accounts for the 
peculiarity of the term, by showing 
that the deposits were arranged, like 
swallows' nests, under a projecting 
roof or eaves [stcb-grundd). 

SUBJUG'IUM {ixsaafrov). The 
under-yoke ; a wooden frame fastened 




underneath the yoke {jugum), at each 
of its extremities, by a bolt, or a 
leathern thong (lorum subjugium, 
Cato, R. R. lxiii. Id. cxxxv. 5.), 
which rested upon the animal's neck, 
and encircled it like a collar, as ex- 
hibited by the annexed example, 
from an ancient MS. of Hesiod. 
(Yitruv. x. 3. 8. Hesiod. Op. 469. 
Callim. Gram. ap. Procl. ad I. yueV- 
craBa Bovs viroSvs.) When the yoke 
itself was formed with two curvatures 
at its extremities, as was frequently 
the case (see the example s. Jugum), 
there would be no necessity for 
these additional collars ; but their 
object was to enable the carter, or 
ploughman, to distribute the work 
between two animals of unequal 
powers in a proportion suitable to the 
strength of each, by making the 
point of draught farther removed 
from the centre on one side than on 
the other, which would throw the 
most work upon the animal nearest to 



628 SUBLICA. 



SUBSTRUCTIO. 



the pole (Vitruv. I. c ), and could be 
easily effected by shifting one of the 
collars nearer to, or farther from it. 

SUB'LICA. A pile driven into 
the earth, or into the ground under 
water, for the purpose of raising 
some other superstructure upon it. 
Liv. xxiii. 37. Vitruv. iv. 3. 2. 

SUBLICTUS. Made of wood, and 
supported upon piles. See Pons, 3. 

SUBLIGA'CULUM (Sjc^Wa), 
A cloth fastened round the waist, 
then passed through 
or between the 
thighs, and fastened 
under the fork. (Non. 
s. v. p. 29.), to an- 
swer the purpose of 
drawers, like that 
worn by itinerant 
tumblers in our own 
streets, as shown by 
the annexed example, 
from a small figure 
in the Collegio Ro- 
mano. It was also 
worn upon the stage, as a safeguard j 
against any casual or indelicate | 
exposure of the person. Cic. Off. 
!• 35- 

SUB'LIGAR. (Mart. iii. 87. I 
Juv. vi. 70.) Same as the preceding. | 

SUBLIGA'TUS. Wearing the 
subligar; of men, as shown by the 
preceding example ; of women (Mart. ! 
vii. 67.), as shown by the annexed j 
one, representing a female tumbler. 




in a catalogue of female apparel. Pro- 
bably, only a name in vogue at his 
day, descriptive of a reddish tint 
{minium) with which it was dyed. 

SUB'SCUS. A tenon, in car- 
pentry, joinery, &c. ; that is, the end 
of a piece of wood or metal cut or 
moulded into a certain form, to be 
received into a hole of corresponding 
size and shape, called a mortise 
[securicula), for the joining of both 
together. Vitruv. x. 5. 2. Id. iv. 7. 4. 

SUBSEL/LIUM. A moveable 
bench or form supported upon legs, 
but without any back, and of suffi- 
cient length to contain several per- 
sons upon it at the same time (Cel- 
sus, vii. 26. 1. Varro, L. L. v. 
1 28. ) ; especially used in places 
whei'e a number of people are assem- 
bled together ; in a dining-room 
(Suet. Terent.) ; auction-room (Id. 
Cal. 39.); senate-house (Cic. Cat. i. 
7. Suet. Claud. 23. ) ; for the judges, 
lawyers, suitors, and witnesses in a 
court of justice. (Cic. Vat. 14. 





from a fictile vase of Italo-Greek 
manufacture. 

SUBMIN'IA. A garment men- 
tioned by Plautus {Epid. ii. 2. 48.) 



Rose. A?7i. 6. ) The example is from 
an original of bronze found in the 
baths of Pompeii. 

2. In the theatre, amphitheati-e, or 
circus (Plaut. Amph. Prol. 65. Id. 
Pan. Prol. 5. Suet. Aug. 43. and 
44.), a line of seats encircling the 
interior of the edifice (eavea), and 
rising in tiers or steps one over the 
other, as explained and illustrated 
s. Gradus, 3. 

SUBSTRUCTIO {avd\ w/ xa). A 
wall, pier, buttress, or any work of 
like nature, constructed underground 
as a foundation (Vitruv. vi. II. 5.); 
or above ground as an underprop to 
support a superincumbent structure 
(Liv. xxxviii. 28. Dionys. iii. 69. ) ; 
such, for example, as the elder Tar- 
quin is reputed to have raised on the 
Capitoline. hill, for the purpose of 



SUBTEMEN. 



SUCCINCTUS. 



629 



forming a level platform as a site for 
the temple of Jupiter Capitolinus, 
some remains of which are still ex- 
tant ; or those on the side of the same 
hill facing the forum, which were 
executed by Q. Catulus as a support 
for the tabularium (Inscript. ap. 
Orelli, 3267.), and still remain ex- 
posed to view in a state of consider- 
able preservation. 

SUBTE'MEN or SUBTEG'MEN 
(kpokt), i<pv<pri). The wejt or woof in 
weaving ; that is, the cross-thread 
which is passed alternately under and 
over those of the warp {stameii), to 
make a piece of cloth. (Varro, L. L. 

v. 113. Plin. H. N. xi. 28. Ov. Met. 

vi. 56.) The illustration represents 



It is very clearly exhibited on the 
annexed figure from a marble bas- 




an Egyptian in the act of inserting j 
the weft into the warp upon a frame 
stretched on the ground. Though 
more like mat-making than weaving, 
it exhibits the object and process dis- 
tinctly, as a part of the warp, on which 
he sits, is seen by itself, while the 
other half is already interlaced by the I 
weft loosely inserted and not driven I 
up close by the batten. 

SUBU'CULA. The innermost I 
tunic, made of woollen (Suet. Aug. 
82.), and worn next the skin under | 
the regular outer one (Hor. Ep. i. 1. i 
95. ), which then was specially desig- 1 
nated indusium or sitpfiarus, accord- 
ing to the style in which it was made. 
Varro, L. L. v. 131. Id. ap. Non. s. v. 
p. 54 2 -) It had long sleeves, which 
the outer one had not, and was worn 
by both sexes, though some scholars 
confine it to the male attire, contrary 
to the express testimony of Varro 
(/. c. ), by whom it is also enumerated 
amongst the articles of female dress. 




relief; and two terra cottas of the 
Museo Borbonico (xiv. 37.) repre- 
sent a male and female both draped 
in a very similar manner, with two 
tunics, the underneath one in both 
cases having long sleeves. 

SU'BULA (oTreas). A leather- 
closer's and shoemaker's awl. (Matt, 
iii. 16. Columell. vi. 
5. ) The example 
is copied from a se- 
pulchral stone, found on the Via 
Cassia, and bearing an inscription 
which testifies that it was erected in 
memory of the wife of a worker in 
leather {su/or). 

SUBUL'CUS (o-ujSa'TTjs, vcpopfios). 
A swineherd. Varro, R. R. ii. 4. 20. 

SUCCFDIA. Pork salted or cured, 
like our bacon and ham. Varro, L.L. 
v, no. Id. R. R. ii. 4. 3. 

SUCCINCTUS {tiro&cTTos). 
Wearing a girdle round the tunic, 
low down under the ribs (from the 
Greek v-rroC^^a, which signifies the 
diaphragm or midriff). The object 
of this was not simply to keep the 
dress closely adjusted to the figure, 
but to enable the wearer to shorten it 
by drawing up the skirts through the 
belt in order to leave the lower ex- 
tremities free and unembarrassed by 
drapery ; consequently the usage of 
the teim invariably indicates that the 
person to whom it is applied is en- 



630 SUCCINGULUM. 



SUDAR1UM, 



gaged in active or violent exercise. 
Thus, the huntress Diana is appropri- 




ately equipped in a succinct tunic 
(Ov. Am. hi. 2. 31. Id. Met. x. 536.), 
as in the annexed example from a 
terra-cotta lamp ; the running foot- 
man who preceded his master's car- 
riage {cursor, Mart. xii. 24. ) ; the 
slave who waited at table (Pet. Sat. 
60. 8. and wood-cut j. Pincerna) ; the 
tutelary spirits (Lares. Pers. v. 31. 
and wood-cut s. v.) ; and the ministers 
who slaughtered the cattle at a sacri- 
fice. (Ov. Fast. iv. 413. Prop. iv. 
3. 62., add wood-cuts s. HostiA.) 
Female figures which have Ihe tunic 
adjusted in this way are furnished 
with two girdles, a cingulum above, 
and the succingulum below, as shown 
by the example annexed ; but male 
ones, with a very few exceptions, 
and those mostly of Phrygian and 
other Asiatic races, have only the 
lowest one, like the next illustration. 

2. Succinctus gladio, pugione, cul- 
tro, &c. Wearing 
a sword, dagger, 
knife, &c. , attached 
to a belt or girdle, 
encircling the dia- 
phragm, or just 
over the loins, as 
exhibited by the 
annexed figure 
from a painting of 
Pompeii. Auctor. 
ad Herat 11. iv. 52. 
Cic. Phil. xiii. 16. 
Liv. vii. 5, 

SUCCING'ULUM [too&viov). A 



girdle or a belt, worn low down the 
figure, just round the diaphragm, as 
explained and illustrated under the 
preceding word. Plaut. Men. i. 3. 1 7. 

SUCCOLLA'TUS. Literally, car- 
ried on the neck and shoulders. (Suet. 
Otho. 6. Varro, R. R. iii. 16. com- 
pared with Virg. Georg. iv. 217.) 
But the verb succollare is specially 
used to describe, the method of carry- 
ing a palanquin (leclica, Suet. Claud. 
10.), and other heavy loads, which 
was effected by the aid of a pole 
(asser, phalanga), resting on the 
shoulders, and from which the weight 

3% 





I to be carried was suspended, in the 
i manner represented by the annexed 
I illustration from the column of Tra- 
j jan. The principle upon which it 
I was applied to the transport of a 
j palanquin is explained and illustrated 
' s. Struppus, 2. 

SUC'ULA. A capstan ; for draw- 
ing weights, constructed upon the 
same principle as the modern ones. 
Vitruv. x. 2. 2. Cato, R. R. xii. 
and xix. 

SUDA'RIOLUM. Apul. Apol. 
p. 491. Diminutive of 

SUDA'RIUM {KatyidpciTiov). A 
cloth or handkerchief carried about 
the person or loose in the hand, to 
wipe perspiration from the face, and 
perform the same services as the 
modern pocket-handkerchief. (Quint, 
vi. 3. 60. xi. 3. 148. Suet. Nero, 48. 
Catull. xii. 14. xxv. 7.) It is carried 
in the left hand of a statue belonging 
to the Farnese collection, and sup- 
posed to represent a Roman empress, 



SUFFLBULUM. 



SUFFLAMEN. 



631 



a portion of which is here engraved 
upon a scale sufficiently large to show 




that the object does not form part of 
the general drapery, but is a separate 



handkerchief carried in the hand, as 
modern females carry theirs.. 

SUDA'TIO, -ATO'RIUM. The 
sudatory or sweating-room in a set of 
baths (Senec. V. B. vii. 7. Id. Ep. 
51.), which was heated by flues ar- 
ranged under the flooring (suspenmra), 
and sometimes also constructed in the 
walls of the chamber, when it was 
specially termed sudatio concanterata 
(Vitruv. v. 11. 2.), as in the annexed 
example, representing a set of baths, 
from a painting in the Therms of 
Titus, in which the warm-water bath 
(balneum) and the sudatory form 
two separate rooms. But when both 
these departments, the water and the 
vapour bath, were comprised in a 
single chamber (caldarium), then the 
central part of it, between the two 




extremities, formed the sudatory, as j 
explained s. Caldarium, i. 

SUFFI'BULUM. A large oblong 
square piece of white 
cloth placed over the 
head, and fastened by a 
brooch (fibula) under 
the chin ; worn by the 
Vestals (Festus s. v.), 
and priests ( Varro, L. L. 
vi. 21.), at the sacrifice. 
The annexed figure, re- 
presenting the Emperor 
Trajan offering a sacri- 
fice to Mars, from a 
bas-relief now inserted into the arch 
of Constantine, exhibits a piece of 




drapery so similar to the one de- 
scribed, that if it be not actually the 
suffibulum in question, it will at 
least afford a good proximate idea of 
the character it bore, and manner in 
which it was adjusted. 

SUFFLA'MEN (iiroxevs, rpoxo- 
7re57j). ' A break or drag-chain for 
locking the wheel of a carriage or a 
cart, to prevent it from running upon 
the horses in steep declivities. (Juv. 
viii. 148. Prud. Psych. 417.) It is 
seen underneath the carriage part of 
the annexed cart, just in advance 
of the hind -wheel, though not very 
distinctly, in consequence of the mi- 
nute scale of the drawing : but in the 



632 SUGGESTUM. 



SUPERCILIUM. 



original monument, which is a sepul- 
chral bas-relief, found at Langres in 




France, two chains are distinctly 
seen, one with a ring, the other with 
a hook at the end, to lock round the 
felloe between two of the spokes, and 
thus stop the revolution, or, as it 
were, make a fetter for the wheel, 
which is the literal meaning of the 
latter Greek word bracketed above. 

SUGGES'TUM or SUGGES'- 
TUS. In a general sense, any ele- 
vated place made of earth, stones, 
&c, but especially a raised platform 
on which orators stood to address a 




concourse (Cic. Tusc. v. 20.), gene- 
rals to harangue their troops (Tac. 
Hist. i. 55., wood-cut s. Allocutio), 
or magistrates sat to hear causes 
(Liv. xxxi. 29.), &c. The illustra- 
tion, from a bas-relief, represents 
Trajan sitting on an elevated stage of 
the kind described, to receive the 
submission of a Parthian king. 

2. In a wine and oil cellar. Cato, 
R. R. 154. Same as Calcatorium. 

SUGGRUNDA'RIUM. See 

SUBGRUNDAR1UM. 

SUI'LE. A piggery, containing a 
number of separate sties {Jiarce). Co- 
lumell. vii. 9. 14. 



SU'MEN. The udder of a sow ; 
a favourite dish amongst the Romans ; 
considered to be in perfection if the 
animal was killed one day after far- 
rowing, and before the teats had been 
sucked. Plin. H. N. xi. 84. Plaut. 
Cure. ii. 3. 44. Mart. xiii. 44. 

SUOVETAURFLIA (rpiTTva). A 
purificatory sacrifice, consisting of 
three animals, the pig, sheep, and 




bull, which were conducted in solemn 
procession round the spot or con- 
course requiring purification, and 
then slain. (Cato, A\ R. 141. 1. 
Varro, R. R. ii. I. 10. Liv. i. 44. ) 
It is exhibited by the annexed illus- 
tration from a Roman bas-relief ; 
and other compositions representing 
the same subject contain a numerous 
band of instrumental performers, ac- 
companying the ceremony. 

SUPERCIL'IUM. The lintel of a 
.1 




doorcase (Vitruv. iv. 6. 2. and 4.), 



SUPERFICIES. 



SUPPARUM. 



6 33 



which stretches from the top of one 
doorpost {postis) to the other, and 
over the doorway, like an eyebrow 
over the eye. The example repre- 
sents a stone doorway to one of the 
houses at Pompeii. 

SUPERFICIES. Literally, the 
upper part of anything ; or that 
which is placed over anything ; as 
the roof of an edifice (Plin. H. N. 
xxxiv. 7.) ; or the entire elevation 
above the ground on which a build- 
ing stands (Li v. v. 54. Cic. Att. iv. 
1.); whence the following special 
senses are derived. 
. I. (ojkos.) A mask, with a wig 




and bonnet arranged in a pyramidal 
form on the top of the head, like the 
roof of a house, or the Greek letter 
A (Aa/35oet8es. Jul. Poll. iv. 133.)* 
and having a hunch or protuberance 
at the back {caput gibbernm. Varro, 
ap. Non. p. 452). It was usually 
worn by tragic actors in order to 
increase their stature, and give a cor- 
responding altitude to the upper part i 
of the figure, which the high boot j 
{cothurnus) did to the lower extre- I 
mities ; and is exhibited by the an- I 
nexed example, from a painting re- \ 
presenting a tragic scene at Pompeii, j 
in which both the penthouse form of 1 
the superficies and the protuberance I 
behind are distinctly delineated. 

2. {\v\vov iiri9e/j.a, ttivolkiov, S'ktkos.) j 
The uppermost member of a lamp- j 
stand {candelabruni), upon which the 
lamp was placed ; usually consisting 
of a small flat circular dish or tray, 



as shown by the annexed example, 
from an original of bronze found at 
Pompeii, and indicated by the last 




two of the Greek names bracketed 
above. Plin. H. N. xxxiv. 6. Jul. 
Poll. x. 115. vi. 109. 

SUP'PARUM and -US. A sail 
which only had one sheet {pes. Isidor. 
Orig. xix. 3. 4.), so that it must 
have resembled in form the latine 
sail now so common in the Mediter- 
ranean, or the figure of an inverted 
triangle, with its base attached to the 
yard, as in the annexed example, from 
a Pompeian painting. It was parti- 
cularly employed when great expe- 
dition was required, or the wind 
slack (Isidor. /. c. Lucan. v. 428.) ; 
and as the upper part of the sail in 
such cases is the one which catches 
what air there is astir, as Seneca 




remarks with regard to the supparum 
{Ep. 77.), it seems highly probable 
that the figure here introduced, which 
has the broadest part upwards, really 
exhibits the model in question. It 
was, moreover, hoisted as a topsail, 
over the velwn or mainsail (Stat. Sy?>/. 



634 



SUPPARUM. 



SUPPLICAT10. 



hi. 2. 27. summis adnectite suipara 
velis. Compare Lucan. /. c. Senec. 
Here. JEt. 698. ) ; though not so re- 
presented in the painting from which 
the present illustration is copied. But 
this circumstance, which at first j 
might appear to involve a contradic- j 
tion, and to negative the conjecture j 
hazarded respecting the name and | 
character of the very peculiar sail 
under observation, will not present 
any difficulty to those who are con- j 
versant with the principles of com- 
position uniformly followed by the ! 
artists of the Greek and Roman 
schools, both sculptors and painters. | 
Their sole object being to give a 
prominent interest to the human 
figure, and not, like the modern j 
artists, to produce a faithful copy of 
the localities and accessories belong- 
ing to the scenes or actions they re- 1 
presented, it was usual with them to | 
neglect the truthfulness of representa- 
tion in their back -grounds, accessories, j 
and subordinate parts of the compo- 
sition, merely indicating the time, 
place, or circumstances of the action 
by a few conventional signs, expressing 
the ideas they wished to convey, and 
which would be readily recognized by 
the majority of spectators. Thus the 
picture from which our illustration is 
selected represents the desertion of 
Ariadne, whose person forms the 
principal object in the foreground, 
stretched upon the earth in an agony 
of grief at the moment of discovering 
the flight of her lover. The ship is 
just in the offing ; and the artist has 
ingeniously contrived to express the 
haste with which the faithless hero 
escaped, by merely placing on his 
vessel two sails of the kind which 
seamen hoisted when they wished to 
press their craft with the utmost ex- 
pedition through the water. 

2. A banner stretched upon a cross- 
tree (Festus, s. v.), affixed to an up- 
right shaft, like the vexilhim and laba- 
rum (Tertull. Apol. 16.) ; for each of 
which it is only a more recent name. 

3. An article ..of. the indutus in 




female apparel (Afran. ap. Non p. 
540.), made of linen and 
worn over the subucula 
(Varro, L. L. v. 131.), 
and made with a short 
and tightish sleeve, which 
covered the fleshy part 
of the arm from the Lj 
shoulder to the elbow- 
joint. (Lucan, ii. 363. 
Suppara nudatos cingunt 
atigusta I a cert os.) There 
are no passages which 
prescribe its length ; but 
the other objects expressed by the- 
same term naturally lead the imagi- 
nation to a short vest, which sets 
upon the upper part of the person, as 
a topsail above the mainsail, or a 
banner on the top of its shaft, like 
the annexed figure, from a bas-relief 
found at Herculaneum, and the one 
introduced s. Subucula. 

SUPPEDA'NEUM {frnoizdZiov). 
(Isidor. Orig. xx. 1 1. 8. Lactant. 
iv. 12.). A foot-stool ; same as Sca- 

BELLUM Or SCAMNUM. 

SUPPLEX. One who supplicates 




in a kneeling posture, or with his 
knees bent under him {sub and plied), 
as the annexed figure of a German 
captive supplicating Trajan, from the 
column of that emperor. Virg. Cic. Sec. 

SUPPLICA'TIO. A praying 
ivpon the bent knees, or in a kneeling 
posture, as contradistinguished from 
the erect one {prccatio), in which the 
Romans usually offered up their 
prayers. 

2. The supplicatio was also a solemn 
public thanksgiving offered to the 



SUPPOSITITU, 



SYMPHONIA. 635 



gods,, when all the temples were 
thrown open, and the statues of the 
deities brought out and placed upon 
couches for the people to worship, 
which, it may be presumed from the 
term, was done by kneeling down 
before them. Li v. Cic. &c. 

SUPPOSITITU. Substitutes; the 
name given to gladiators substituted in 
the room of others who had been de- 
feated or killed. Mart. v. 24. 

SUSPENSU'RA. In general, any 
building or flooring raised from the 
ground by being supported upon 
arches, pillars, or piles ; and espe- 
cially applied to the flooring of a 
bath-room, when it is suspended over 
the flues of a furnace upon low pillars 
in order that the warm vapour may 
circulate freely under it (Vitruv. v. 
10. 2. Senec. Ep. 90. Pallad. i. 40. 
2. ), as in the annexed example show- 




ing the section of a bath-room, dis- 
covered in an ancient Roman villa at 
Tusculum, in which the floor of the 
room is supported upon tubular tiles, 
themselves hollow and perforated 
down the sides to admit the vapour. 

S U'TILI S. Belonging to any 
thing which is sewed or stitched to- 
gether; as 

1. Corona sutilis. (Plin. H. N. 
xxi. 8. Mart, ix 91.) A chaplet of 
flowers sewed together. See Corona, 
11. 

2. Thyrsus sutilis. (Auct. Priap. 
xix. 3.) A thyrsus which has the 
head concealed in a wreath of ivy 
leaves. See Hasta, 7. 

3. Cymba, navis sutilis. (Virg. 
Ain. vi. 414. Plin. H. N. xxiv. 40. 



I Varro, ap. Gell. xvii. 3. 2.) A boat 
or larger vessel covered with hides or 
papyrus, stitched over it. See Ca- 

RABUS. 

4. Domus sutilis. ( Val. Flacc. vi. 

81.) A Scythian tent, made of skins 
j sewed together, and fixed upon wag- 
{ gons, which transported it from place 

to place. 

S U ; TOR (pdirrvs). A leather- 
■ closer (Plaut. Aid. i. I. 34. Ib. iii. 5. 

39. Cic. Fl. 7. ) ; that is, one who 
J sews leather with an awl (subula) and 
a bristle (seta. Isidor. Orig. x. 263. 
xii. 26. xix. 34. I.); the particular 
kind of work being often pointed out 
by a distinguishing epithet, as sutor 
j crepidarius (Sempron. Asell. ap. Gell. 
\ xiii. 21. 3.); sutor caligarius (Inscript. 
ap. Grut. 649. 1.) &c. 

SUTRI'NA (okvtzw). A leather- 
closer's or a shoemaker's shop. Plin. 
H. N. x. 60. xxxv. 37. 

SYMPHO'NIA [av^via). The 
harmony of many voices or instru- 
ments concerted together, as contra- 
distinguished from cantus, the melody 
of a single voice or instrument. Cic. 
Co? I. 15. 

2. {pompou fivpaoirayes. ) A long 
di-um, or barrel drum, made by a 
hollow cylinder of wood or copper, 
I with a skin strained over both its ends, 
and beaten by a pair of drum-sticks 
j {virgtda?) on both sides at once. (Isi- 
dor. Orig. iii. 21. 14.) It was used as 
a militai-y instrument by the Egyp- 
[ tians (Prudent, adv. Symm. ii. 527.); 
! and by the Parthians (Plut. Crass. 
i 23. ) ; but not by the Greeks or Ro- 
mans, though it appears upon a bas- 
( relief published by Licetus {Be 
I gemmis anulorum), slung round the 
! drummer's neck by a broad belt, in 
I the same position as it is borne by 
; the figure on the left side of the il- 
lustration, which is copied from an 
i Egyptian painting. The right-hand 
! figure exhibits a copper drum, also 
j Egyptian, from an original found at 
Thebes ; and the bottom one, a 
' wooden drum -stick, from the same 
1 country, now preserved in the mu- 



636 S YM PHONIA . 



S YN TH ESINA . 



seum at Berlin. The marks on the 
sides of the drums, along and across 
their barrels, show the cords which 
braced up the skins. The knob at 




£— ^ — — — s 

the end of the drum-stick is formed 
for being covered with leather 
wadded underneath ; and the shape 
of the handle distinctly proves that 
it was to be used as one of a pair 
intended for striking a drum placed 
in a horizontal position, similar to 
the one carried by the figure imme- 
diately above it. Burney expresses 
an opinion that a drum of the kind 
described was not an ancient inven- 
tion {Hut. of Music, i. 116.), mainly 
induced by not having met with any 
representation of it in works of art ; 
but the example of Licetus was not ! 
known to him, and those engraved | 
above had not been discovered when j 
he wrote. Scholars, moreover, and 
lexicographers, are inclined to regard 
the term symphonic, as one of doubtful 
Latinity, in the sense here ascribed to j 
it, because it is thought that the Latin 
language affords no positive authority 
for such usage of an earlier period than 
that of Prudentius and Isidorus. Cel- 
sus, however (in. 18.), applies the term i 
most distinctly to some kind of musical j 
instrument used in conjunction with 
cymbals, and intended to make a very j 
great noise, for which none more ap- | 
propriate than the drum could be 
suggested ; and the word would bear j 
a similar interpretation in a passage j 
of Pliny {H. N. ix. 8.), where it is 
united with the hydraulic organ ; : 
though in that instance a different j 
interpretation may be preferable. 



j At all events, it is certain, from the 
j specimens introduced above, that the 
barrel drum was used in very early 
times by the Egyptians, and, in con- 
sequence, that it could not have been 
unknown to the Romans, who would 
naturally invent or adopt some 
name by which to distinguish it. 
If that name was not symphonia, what 
was it ? Assuredly not tympanum; for 
that word expresses an object of very 
different form, though somewhat allied 
in character, as is clearly and accu- 
rately distinguished by Isidorus, 
who says that the tympanum had its 
skin strained over one face only, 
like a tambourine, or a kettle-drum 
{Orig. iii. 21. 10. corium ex una 
parte extentum), but the symphonia 
over two surfaces {Orig. iii. 21. 14. 
ex utraque parte pelle ex tenia). 

SYMPHO'NIACI. Musicians 
who sang or played a piece of music 
in concert. The name was specially 
j conferred upon young slaves edu- 
cated as choristers, for the purpose 
of entertaining their masters at the 
dinner-table (Cic. Mil. 21.); and to 
a band of musicians employed on 
board ship to keep the rowers in 
stroke, by singing or playing the 
naval chaunt {celeusma), or to make 
signals and transmit commands by 
the sound of music. Cic. Div. Verr. 
17. Ascon. ad L 

SYMPOS'IUM {<rvfiw6ffioii). A 
Greek word, and properly descrip- 
tive of the manners of that people. 
(Cic. Fam. ix. 24.) It signifies a 
wine-party or drinking-bout, which 
took place after the meal, and to 
which other guests besides those 
who partook of the repast were fre- 
quently invited to come and join the 
convivial part of the entertainment. 
At these parties, the company of 
dancing and singing girls, as well as 
drinking to a considerable extent, 
was indulged in by the youth of 
Greece. Becker, Charides, Fx- 
curs. ii. 

SYNTHES'INA. (Suet. Nero, 
51.) Same as 



SYNTHESIS, 



■[A BEL LA. 



637 



SYNTHESIS (a<>ve«ns). A I 
dress worn by the Romans at their ! 
meals (Mart. v. 79.) ; but not at other j 
times, nor in public, excepting during i 
the Saturnalian festival, when the [ 
whole city was engaged in the feast- i 
ing and gaiety of a modern carnival. [ 
(Mart. xiv. 1. and 141.) It is im- 
possible to ascertain the character- 
istic peculiarities distinguished by 
the term ; but the bas-reliefs and 
paintings which exhibit people at 
meals, represent them with the up- 
per part of the figure quite naked, j 
or more usually clothed in a loose [ 
ungirt tunic, either with short or 
long sleeves ; the legs and lower j 
half of the body being folded in a 
loose piece of drapery, which is 
sometimes also raised as a mantle ! 
over the shoulders, as shown by the 
wood-cuts s. Accubo and Lectus 
Tricliniaris. Possibly these two 
articles together, the indumentum and 
the amictus, constituted a synthesis ; < 
which is more consonant to the pri- 
mitive meaning of the term, and 
analogous to its other senses, than 
any single piece of drapery wovdd 
be ; for all of them have reference to 
a combination of several things ; as, 
the various pieces which compose a 
table-service (Stat. Sylv. iv. 9. 44. ) ; 
a medicinal mixture compounded of 
different ingredients (Seren. Sammon. j 
xxx. 578.); a wardrobe or entire 
suit of clothes. (Scsev. Dig. 34. 
2. 39-) 

SYN'TONUM. (Quint, ix. 4. 
142.) A musical instrument, sup- 
posed to be the same as, or similar 
to, the SCABILLUM. 

SY'RINX (<rvpi 7 |). The Greek 
name for the pastoral pipe invented 
by Pan, and formed of 
reeds or canes of several 
unequal lengths joined to- 
gether, as in the annexed 
example, from a statue 
found at Pompeii. By the 
Romans it was termed 
arundo, or fistula. 

SYR'MA (avpfia). A long robe 



trailing on the ground ; more parti- 
cularly worn upon <^ 
the tragic stage &/*n 
(Juv. viii. 229.) 
by actors who 
performed the ^ 
parts of divine 
or heroic person- 
ages, as in the 
annexed figure, 
representing the 
character of Her- 
cules, from a 
group of actors 
on a marble bas- 
relief. It was in- 
tended to give grandeur and dignity 
to the person, and conceal the un- 
sightly appearance of the high-soled 
tragic boot {cothurnus) at the back 
of the actor. 

SYS'TYLOS (<tv(ttoXos). Close 
columned ; a term employed by the 
ancient architects 




•-4 m 




to designate an 
intercolumniation 
of only two dia- 
meters apart, as 
shown by the se- 
cond line of the 
annexed diagram, which exhibits at 
one view the relative distances of 
the five different systems of inter- 
columniation in use amongst them. 
Yitruv. iii. 2. 



T. 

TABEL'LA (mvamov, craii^iov). 
In a general sense, any small flat 
board ; whence the following specific 
usages are derived. 

1. A small tablet made of wood, 
with a raised margin round the 
edges, which was 
covered with 
sand, or with a 
coat of wax, and 
used by school- 
bovs as a slate, or for writing on 



with a metal point (stilus). (Plin. 
//. iV. xxxiv. 19. Ov. A. Am. i, 



6 3 8 



TAB ELL A. 




437. iii. 469.) The example is from 
a Pompeian painting. 
,: 2. A small, or, as we should say, 
cabinet picture on panel, as con- 
tradistinguished from a painting on 
canvas, or 
upon a wall. 
{Cac. -Fam. vii. 
23. Suet. Tib. 
43. Juv. xii. 
TOO.) ; and 
which might 
be hung up 
with a nail 
on the sides of a room, or over the 
door, in the manner shown by the 
annexed illustration, from a painting 
at Pompeii. 

3. A small votive tablet, which 
used to be hung up in the temples, 
and before the statue of a divinity, 
as a grateful acknowledgment by 
persons who had escaped from any 
calamity or accident, such as ship- 
wreck, &c, or who had been cured 
of some malady by the miraculous 
interposition, as it was believed, of 
the deity to whom the acknow- 
ledgment was 
made. (Hor. 
Sat. ii. 1. 33. 
Cic. Ov. Ti- 
bull. Juv. &c. ) 
These tablets 
contained a 
rude repre- 
sentation of 
the supposed 
miracle, with 
an inscription recording the circum- 
stances attending it, similar to what 
is now commonly seen in Roman 
Catholic churches ; or a mere por- 
traiture of the member saved or 
restored, executed upon a marble 
slab, and dedicated in gratitude to 
the protecting power, as shown by 
the illustration, from a specimen 
found at Rome, and supposed, from 
the inscription, to have been dedi- 
cated to Hygeia, the goddess of 
health, by an individual who had 
arrived safe from a long journey, or 





! whp had escaped 1 some disease or 

I accident in the feet. 

j 4. A small tablet employed in 

! voting at the Comitia and in courts 
of justice. (Cic. Fl. 39. Senec. 

! Ben. iii. 7. 

j Suet. Augl 33. 
C^es. B. C. 
iii. 83.) At 
the Comitia, 
two of these 
tablets were 
delivered to 
the voter, one 

I marked with 

\ the letters 

I U. R. for uti 

j rogas, i. e. I 
vote as you 

j propose ; the other, with the letter A, 
for antiqno, i. e. I vote for the old 
law, as exhibited by the annexed 
example, from a coin of the Cassian 
gens, which represents the voter 
dropping his tablet into the basket 
(cistd). But in a court of justice 
three tablets were given to the 
judges ; one marked with the letter 
A, for absolvo, I acquit, or not guilty ; 
the other with C, for condemno, I 
condemn, or guilty ; and the third 
with N. L., for non liquet, it is not 
clear, which was tantamount to the 
verdict of "not proven, "in Scotch law. 

5. Tabella absolvitor ia. The tablet 
of acquittal, marked with the letter 
A, as explained in the last paragraph. 
Suet. Aug. 33. 

6. Tabella damnatoria. The tab- 
let which expressed a verdict of 
guilty, marked with the letter C, as 
explained, in paragraph 4. Suet. 
Aug. 33. 

7. A small gaming-board ; but of 
what precise description, or for what 
particular game, is not ascertained. 
Ov. A. Am. iii. 365. Id. Trist. ii. 481. 

8. A small fan (Ov. Am. iii. 2. 
28. Id. A. Am. i. 161.), made by 
stretching a piece of linen over a 
square frame with a handle attached 
to it ; but the only remaining repre- 
sentations of ancient fans on the fic- 



TA BELLARI US. 



TABERNA. 639 



tile vases and Pompeian paintings, are 
made of feathers and lotus leaves, as ex- 
plained and illustrated s. Flabellum. 

9. Tabslla liminis. The leaf of a 
wooden door ; which was made, like 
our own, out of a number of separate 
slabs. Catull. xxxii. 5. and Janua. 

10. A booth, made of boards, and 
erected by the candidates at the Co- 
mitia for the reception of their voters, 
to shelter them from the heat of the 
sun or moisture of the atmosphere. 
Varro, R. R. iii. 2. 1. 

11. A particular kind of pastry, 
so termed from being made in a flat 
square mould. Mart. xi. 31. 

TABELLA'RIUS (ypa^arScpo- 
pos, f}tfi\io<p6poi, Polyb. Fr. 38.) 
A letter-carrier, or special mes- 
senger, by whom the correspond- 
ence of a private individual, or the 
government despatches, were con- 
veyed to the friends of the former 
or to the employers of the latter ; but 
not a postman, in our sense of the 
word, for the ancients had no such 
convenience as a public post. (Cic. 
Phil. ii. 31. Id. Fam. xii. 12. xv. 




17.) The illustration is from a se- 
pulchral bas-relief, with the inscrip- 
tion Tabellarius underneath. 

TABELLTO. A notary, em- 
ployed in drawing out legal docu- 
ments ; a name which came into 
use under the Empire, and designates 
a similar employment to that of the 
Scriba under the republic. Cod. 
Theodos. 9. 19. 1. Ulp. Dig. 48. 19. 
9. Capitol. Macrin. 4. 

TABER'NA. Literally, a hut 
formed with planks {tabuhe), the 
earliest style of building amongst the 
Romans (Hor. Od. i. 4. 13. Ulp. 



Dig. 50. 10. 183. Festus s. Adtu- 
bernalis) ; thence — 

2. A shop for the sale of retail 
commodities (Cic. Varro, Suet. 
Juv.); so named, because in old 
Rome, the shops consisted for the 
most part of boarded stalls projecting 
from the houses, or raised under the 
colonnades which surrounded the 
market-places. Subsequently, how- 
ever, as wealth and commerce in- 
creased, the ground-story of the 
rows of houses, and even palaces, in 
a street, were appropriated for shops, 
and let out to separate tradesmen, 
like those round our Royal Ex- 
change, and many of the great man- 
sions in continental towns. In the 
majority of cases, the shop had no 
communication with the rest of the 
house, the tenant merely occupying 
it for the purpose of his trade, and 
dwelling himself elsewhere ; but 
some few houses, of a respectable 
class, have been discovered at Pom- 
peii, in which the shop has an en- 
trance from its back, into the habita- 
ble parts of the mansion, and these 
are reasonably believed to have been 
in the occupancy of the persons who 
dwelt on the premises, and who are, 
in consequence, supposed to have 
been wealthy tradesmen. The gene- 
ral appearance of a Roman shop, as 
uniformly exhibited by the numerous 
examples remaining at Pompeii, re- 
sembled those of our butchers and 
fishmongers, being entirely open in 
front, with the exception of a low 

: wall, forming the counter, and were 
closed by wooden shutters at night. 
They are mostly comprised in a 

i single room, without any other con- 
venience ; though in some instances 
a small back parlour and other ap- 
purtenances are added. , The annexed 
illustration represents , an elevation 




restored of six shop-fronts at Pom- 
peii ; and the ground-plan of the 



64 TABERNA C UL UM. 

house of Pansa, at p. 248, which also 
contains the plan of several shops, 
numbered I — 7, will afford a distinct 
idea of the usual manner in which 
they were laid out, both when con- 
nected with and separated from the 
dwelling-house. 

3. Taberna deversoria and meri- 
toria, or simply taberna. A wine- 
shop, by the road-side, for the conve- 
nience of travellers. (Vitruv. vi. 5. 
2. Varro, R. R. i. 2. 23. Plaut. Men. 
ii. 3. 86. Val. Max. i. 7. ext. 10.) 
The Roman landlords whose estates 
abutted on any of the public roads, 
were in the habit of erecting buildings 
of this kind, in which they retailed 
the produce of their estates ; and a 
very similar practice obtains at the 
present day amongst the Tuscan 
nobility of Florence, where a small 
window is frequently seen by the 
side of the principal entrance to 
many of the great palaces, from 
which the steward retails to the 
townspeople the produce of his 
master's vintage. 

TABERNA'CULUM. A tent; 
properly speaking, made with planks, 
like a booth or wooden hut (taberna, 
Festus s. v.), and covered with skins 
or canvas, as in the annexed ex- 
ample, from the column of Antoninus, 




in which the boarded roof is dis- 
tinctly apparent ; but the term is 
also used more indiscriminately for 
any kind of tent, merely stretched 
upon cords, and without any wood- 
work, whether erected by the sol- 
diery or by individuals for their own 
use. Cic. Vierr. ii. 5. 12. Id. Brut. 
9. Tac. Hist. v. 22. 



TABLINUM. 

TABERNA'RIUS. A shop. 
\ keeper. Cic. Fl. 8. Id. Fam. viii. 6. 
I TABER'NULA. (Suet. Nero, 
26. ) Diminutive of Taberna. 
TABLI'NUM and TABULI'- 
I NUM. One of the principal apart- 
| ments in a Roman house, immedi- 
i ately adjoining the atrium and fauces 
\ (Festus s. v. Vitruv. vi. 3. 5. and 
I 6. ), which was used in early times to 
I contain the family archives (Plin. 
i H. N. xxxv. 2.), and as an eating- 
\ room in a town-house. (Varro, de 
\ Vit. P. R. ap. Non. p. 83. ) In most 
I of the houses at Pompeii, there is 
I observed an apartment situated be- 
tween the atrium and peristylium, 
l with two narrow corridors (fauces) 
on each of its flanks ; the relative 
! position of which is shown on the 
plan of the house of Pansa, at p. 
248., where it is marked d ; and an 
interior elevation of a similar apart- 
ment, in the house of the Dioscuri, 
is exhibited by the annexed illus- 
tration. The part immediately in 
front of the drawing is the floor of 
the atrium, with a portion of its im- 
I pluvium ; the dark and open recess 
J occupying the left half of the middle 
ground is the tablinum, with the 
j colonnade of the peristylium showing 
I through ; and the small door on the 




right of it is the faux, which also 
j opens upon the peristyle at its further 
j extremity. It will be observed that 
j this apartment is entirely open at 
! both ends, so as to permit a continu- 
1 ous* view through the two principal 



TABULA. 



64I 



divisions of the house ; but these 
ends were closed, when desired, by 
movable screens or partitions of 
wood {tabulce), as is evident from 
there being a separate passage at the 
side, for the purpose of affording 
communication between the atrium 
and peristyle, which would not be 
required if the tablinum permitted 
a thoroughfare always through it. 
The name will thus be derived from 
tabula; probably in allusion to the 
partition with which it was closed, 
as Varro seems to insinuate (/. c.) ; 
though Pliny and Festus (■//. cc.) 
suggest another motive, viz. the 
registers and archives {tabulce ratio- 
tuim) deposited in it. 

TAB'ULA (7rAct£, aavls, 
A plank or board ; whence the fol- 
lowing special applications : — ■ 

I. A bench, or form, made of 
boards (Hor. Sat. ii. 1. 86.), as in 
the annexed example, fi om a painting 




of Pompeii. 

2. A dice-board, or slab on which 
the dice were cast when playing a 
game of chance 
(Juv. i. 90. Senec. 
Tranq. 14. ) ; and 
which, it is pro- 
bable, was like- 
wise used in 
mixed games of chance and skill, 
the dice which determined the nature 
of the move being cast upon a sepa- 
rate slab, and the move, as at back- 
gammon, then made in the gaming- 
board {abacus) with the piece. The 
annexed example is from an original 
of marble in the museum of the Col- 




legio Romano, which bears neither 
markings nor divisions upon it, to 
adapt it for use in a game of skill ; 
but the inscription upon it, which 
runs thus — "Give over when you 
are beaten, you don't know the 
game, give place to one who does," 
evidently expresses that its employ- 
ment was connected in some maimer 
with a game of skill, and not of mere 
chance, at which no kind of know- 
ledge would be requisite. 

3. Tabida latruncularia. A board 
or table upon which the Indus latrun- 
culorum was played (Senec. Ep. 
117.) ; a game which had a certain 
resemblance to our draughts. The 
annexed illustration shows the table 
and pieces, with two Egyptians at 
play, but the exact manner 111 which 
its surface was divided is not kixown, 
as no original has yet been disco- 
vered ; and the representations af- 
forded by works ot art are only 




delineated in profile, like the one 
annexed, so that no details can be 
! seen. But there is good reason to 
I believe that the pieces were moved 
in parallel lines ; consequently, that 
the board was not divided into 
squares, like our chess-board. Some- 
; times, however, the table was made 
I double, one side being fitted for the 
j Indus latrunculorum, the other for the 
j Indus dnodccim scriptoruni (Mart. xiv. 
j 17. ) ; and thus tabula also means a 
backgammon board (Pet. Sat. 33. 
2.), with divisions as described and 
\ illustrated s. Abacus, 2. 

4. A board or plank for a game 
played by the Roman boys during 
! the Saturnalian festival, with walnuts 
I (Ov. Nux. 77. Mart. v. 84.), and 
I probably with balls, which the ob- 
jects in the next illustration seem 
intended for. The game was played 
2 S 



642 



TABULA, 



TABULARIUM. 



in the following manner. A number 
of nuts were disposed upon the 
ground at certain intervals from one 
another, in front of a plank supported 
underneath by a stone, or some other 
object, which caused it to rest in a 





slanting position. From the top of 
this a single nut was then let off by 
the player, which ran clown the in- 
clined plane, and captured all those 
it happened to strike against. The 
process is very clearly expressed by 
the annexed illustration, from a Ro- 
man bas-relief in the collection at 
Ince Blundell. 

5. A board covered with wax or 
sand, which the Roman school-boys 
used for writing their exercises, or 
working their pro- 
blems upon (Hor. 
Sat. i. 6. 74. Pet. 
Sat. 46. 3.), as ex- 
hibited by the an- 
nexed figure, from a 
bas-relief in terra- 
cotta, representing a 
Roman youth with 
the bulla round his 
neck, his tablet on 
his knees, and his 
box of books {capsa) 
on the ground beside 
the term tabula is also applied to any 
kind of writing ; as, for example, an 
account-book, catalogue, advertise- 
ment, legal or testamentary docu- 
ment, marriage settlement, or any- 
thing inscribed upon a waxed tablet. 
Cic. Varro, Hor. Liv. Tac, Caes. 
Ov. Plin. 

6. A picture painted upon panel, 
as contradistinct from one on canvas 
or in fresco. (Quint, vi. 1. 32. Cic. 




him. Hence 



Verr, v. 55. Plin. H. iV. xxxv. 
These were set in 
frames of marble or 
wood, and thus let 
into the wall (Plin. 
H. A r . xxxv. 10.), 
whence the name ta- 
bula is sometimes used 
to designate a picture- 
frame. (Id. xxxv. 
45. ) The illustration 
exhibits a portrait up- 
i on the easel, and enclosed in a frame, 
I as described. 

7. A votive tablet (Hor. Od. i. 5. 
13.); as described s. Tabella, 3. ; 
the diminutive form being most fre- 

i quent in this sense, and the most ap- 
| propriate, as it expresses the medio- 
j crity of size and execution peculiar 
I to such productions. 

8. A tablet used for voting at the 
Comitia and in courts of justice (Cic. 
Phil. ii. 8.), as described and illus- 
trated s. Tabella, 4. ; the diminu- 
tive form in this sense being the 
more usual and appropriate. 

9. Tabulcz (ffToAi'Ses), the long 
parallel folds or plaits into which a 
loose garment naturally forms itself 
as it depends from the shoulders or 
waist (Tertull. Pall. 1 and 5. ) ; and 
which received the name from the 
resemblance they bear to that of a 
series of boards lapping over each 
other in a wooden building. See 
Contabulatio, and the illustration 
there introduced. 

TABULA'RII. Notaries, ac- 
countants, registrars, and keepers of 
public documents and archives {ta- 
bula} are included under this title. 
Senec. Ep. 88. Capitol. M. Anton. 
9. Ulp. Dig. 43. 5. 3. 

TABULA'RIUM. A record-office, 
in which archives, registers, and 
public or private documents {tabula) 
were kept ; sometimes a separate 
edifice constructed for the purpose 
(Cic. Arch. 4.), like the one under 
the capitol at Rome (Inscript. ap. 
Grut. 170. 6.), of which extensive 
remains are still in existence ; or 



TABLTLINUM. 



T/ENIA. 



643 



very commonly attached as an ap- ! 
purtenance to a temple and other ( 
public buildings (Liv. xliii. 16.) ; or j 
formed in a room of a private house 
Paul. Dig. 32. 1. 90. Tablinum. 
TABULI'NUM. See Tablinum. I 
T^E'DA or TE'DA (Sots). A 
species of pine-tree producing a great 
quantity of resinous matter; I 
thence a pine-torch, made 
out of slips cut from a 
part of the tree into which 
the resinous matter was 
artificially made to accu- 
mulate, and which was 
particularly employed in 
marriage ceremonies and 
processions. (Ov. Virg. 
Prop. ) The illustration is 
from a marble bas-relief, in which it 
is carried by Hymen ; and it will not 
fail to be observed that it is formed 
by small scales of bark, in the pattern 
of a fir cone, and not of wattled 
laths or twigs, like the Fax. 

TyE'NIA (raivia). Strictly, the 
flat fringed end of the ribbon (Pitta) 
that was twisted round the woollen 
flocks of a sacred fillet (infula), and 
which formed a band at each of its 
extremities for fastening the fillet 
round the head (Virg. s£n. vii. 352. 






chaplet, wreath of flowers, or hono- 
rary crown (coro- 
na), and which 
were left to float, 
like streamers, at 
the back of the 
neck, as in the 
annexed example 
from a bust of 
Antoninus. En- 
nius ap. Fest. s. v. 
Virg. y-En. v. 269. 
Serv. ad I. 

3. A flat band, or bandeau, worn 
round the head, 
for the purpose of 
keeping the hair in 
a set form of ar- 
rangement, as ex- 
hibited by the an- 
nexed bust from a 
bronze statue found 
in Herculaneum. 
(Mart. xiv. 24.) 
But the reading of 
the passage is not 
tainty. 

4. The Greek name for a bosom- 
band worn by young girls under the 
dress and next the skin. (Apul. 
Met. x. 225. Anacreont. xxii. 32.) 
Same as Fascia pectoralis, under 
which term the object is described 
and illustrated. 

5. A breast-collar for draught horses 
(Apul. Met. ix. 184.) ; as in the 




from uncer- 



tcenia vitta. Serv. ad Virg. ALn. v. 
269. vittce. extreniitas), as will be 
understood from the annexed illus- 
tration, representing at the top a 
woollen fillet, with two tcenice at each 
end, from a fictile vase, and the head 
of a priest with the ligature round it, 
from a marble bas-relief, underneath. 

2. The flat band or ribbon which 
fastened together the two ends of a 




annexed example from a terra-cotta 
lamp. 

6. In architecture, the fillet which 
separates the Doric frieze from the 
architrave ( Vitruv. iv. 3. 4. ) ; running 
1 along the whole line of the architrave 



644 TJENIOLA . 



TAPES. 



between the triglyphs and guttcz, 
like a band, as in the annexed ex- 




ample from a Doric entablature of 
the theatre of Marcellus at Rome. 

T^'NIOLA (raivtiiov). Diminu- 
tive of Taenia. Any small band or 
tie. Columell. xi. 3. 23. 

TALA'RIS. Reaching to the 
ankle joints, or heels. See Tunica. 

TALA'RIA [wtSiAa, Horn. II. 24. 
340.) Sandals with wings affixed 
to the sides near the ankle bone 
(talus) ; attributed by the artists and 
poets to Mer- 
cury (Virg. 
sEn. iv. 239. ), 
Perseus (Ovid. 
Met. iv. 666.), 
and to Miner- 
va. (Cic. N.D. 
iii. 23.) The 
illustration is 
from a figure of Mercury painted at 
Pompeii, in which the sole, and liga- 
tures by which the wings were 
attached to the foot, are clearly de- 
lineated. 

TALEN'TUM (t6.X<ivtov). The 
Greek name for a pair of scales 
(libra), whence the term was trans- 
ferred to the object weighed ; and as 
it was an early practice to weigh out 
the sums of money to be paid, the 
talent came to signify a definite weight 
in money, as well as other commo- 
dities ; varying, however, in different 
states of Greece, and at different 
periods of her history. The Attic 




talent of money contained six thou- 
sand drachmas, worth about 243/. 1 $s. 
of our money ; the Attic talent of 
weight was equal to about 571b. ; the 
^Eginetan to nearly 82|lb. Rhemn. 
Fann. de pond. 37. 

TA'LUS(ao-Tpa7aAos). Theflastern 
bone of certain animals, which was 
employed by the ancients in various 
games of chance and skill, instead of 
a dice (tessera). The actual 
bone was frequently used ; 
but imitations of it were $1 
made in other materials, 
especially of stone and bronze, of 
which metal the original of the an- 
nexed example consists. It had but 
! four flat sides instead of six, the two 
1 ends being round, so that the bone 
i would not stand upon either of them. 
! The points were marked upon the 
four flat sides ; 1 and 6 upon two 
I opposite faces ; 3 and 4 on the two 
I others ; 2 and 5 were not marked ; 
! but four tali were used together. 
I The best throw, called Venus, was 
I when each side presented a different 
number, as 1, 3, 4, 6. The worst 
one (cams), when all four numbers 
I came up the same. In playing, they 
were cast from a box (fritillus), or 
; simply from the hand, as exhibited 
; by the wood-cut s. Astragalizontes. 
Suet. Aug. 71. Senec. Apocol. s. f, 
Cic. Div. i. 13. 

2. In the human race, which has 
no pastern joint, the talus is a small 
J bone under the base of the tibia, just 
I above the os-calcis, which lies rather 
j backward in the foot, and is now 
I called the astragalus in anatomy 
I (Celsus, viii. I. and 7.) ; but poets 
I apply the term to the projecting base of 
j the tibia, our ankle. Ov. Met. viii. 808. 

TAP'ES, TAPE'TE, or TAPE'- 
1 TUM (rairris). Baize, or dragget of 
j long napped avooI (Plin. H. X. viii. 
j 73. ), used as tapestry for the walls of 
j a room, carpeting for floors, coverlets 
for couches, chairs, or beds (Plaut. 
. Stick, ii. 3. 54. Mart. xiv. 147. Virg. 
i /E11. ix. 325., and wood-cuts s. Au- 
ivEA and Solium 2. ), and as capari- 



TEG1LLUM. 



TELA. 



645 



sons for horses, of richly-dyed colours 
instead of skin. (Sil. Ital. xvii. 64. 
Apul. Met. x. 224. Virg. JEn. vii. 
277. , and wood-cuts s. Stragulum.) 

TEGIL'LUM. A very coarse and 
common kind of hood or cowl (Fes- 
tus s. v. ), which was used by fisher- 
men, rustics, shepherds, &c, to cover 
their heads and shoulders in wet 



upon them, from ancient origi- 
nals. 

2. In the plural, tegulce is often put 
for a tiled roof, as we say the tiles ; 
but the expression per tegulas (Terent. 
Eitn. iii. 5. 40. Cic. Phil. ii. 18. 
Auk Gell. x. 15. I.), 4k tov reyovs 
(Ael. V. H. iii. 4), as descriptive of 
an entrance or exit effected through 




weather. (Plaut. Rud. ii. 7. 18. Var- 
ro ap. Non. s. v. p. 179.) The illus- 
tration represents a young fisherman 
asleep in his hood, from a statue found 
at Pompeii ; and characteristically 
exhibits the form of the object de- 
signated by the term tegillum, which 
is a diminutive of tegulum, meaning 
literally a small roof ; but it is made 
of better materials than usually em- 
ployed lor the purpose, if the account 
of Festus (/. c. ) be true, that it was 
ordinarily composed of rushes. 

TE'GULA (Kepawos). A flat 
roofing-tile, usually made of baked 
clay, but in very sumptuous buildings 
of marble or bronze, and 
sometimes gilt. (Plaut. 
Mil. ii. 6. 24. Cic. Terent. 
Ov. Plin. Liv.) The two 
sides were made to slope 
a little inwards, in order 
that the smaller end of one 
tile, when laid upon the 
roof, might fit into and 
overlap the larger end of another one 
below it ; and also with raised edges, 
to prevent the rain-water from pene- 
trating the lateral interstices, and to 
catch the sides of the rblge tiles {im- 
brices), placed over them in the 
manner shown by the wood-cuts s. 
Imbrex and Imbricatus. The il- 
lustration represents two tegidce, of 
baked clay, with the maker's stamp 




the tiles, does not mean through the 
roof by displacing the tiles, but 
through the open space in the centre 
of an atrium or peristylium, enclosed 
by the tiled roof which covered the 
colonnade surrounding its four sides, 
as is clearly explained by the an- 
nexed restoration of an interior of 
one of the houses a t Pompeii, showing 
the colonnade round the quadrangle, 
with the roof and tiles which cover 
it, and over them, in the background, 
three windows of the upper story. 

TE'LA (iVtos and icrros opQios). A 
weaver's loom. (Ov. Met. vi. 576.) 
The earliest looms, and those most 
common amongst the Romans, were 
upright ones, such as are still used at 




the Gobelin's manufactory and in India 
for making tapestry, and in Iceland 



646 



TELA. 



TEMO. 



for weaving cloth. The illustration 
represents an Egyptian loom from 
a painting in the tombs, slightly 
restored on one of the' sides, which 
had suffered in the original ; but 
exhibiting most distinctly all the 
different parts enumerated by the 
Latin writers ; viz. the cross piece or 
yoke (jugtim) connecting the two 
uprights at the top ; the cloth beam 
(insubulum) immediately under it, 
round which the cloth was rolled as 
the work progressed ; the pair of 
treddles or leash rods (liciatoria), 
which are used to decussate the 
threads of the warp, so as to open a 
shed for the passage of the shuttle 
{alveolus), or the needle (radius), 
which convey the weft across it ; 
below these is the reed (arundo), 
which is passed alternately over and 
under every thread of the warp, in 
order to separate the whole of them 
into two parcels for receiving the 
leashes (licia) ; and finally the yarn 
beam (scapus), to which the threads 
or yarns forming the length of the 
cloth are fastened. In this loom the 
web is driven from below upwards ; 
iii the following specimen it is driven 
downwards from above ; but in both 
of them the weaver stood at his work 
instead of sitting. 

2. Tela jugalis. The commonest 
and simplest kind of loom in ordinary 
use amongst the Romans (Cato, R. R. 
10. and 14.), so termed because it 
had no cloth beam (insubulum), the 
yarns being merely attached to a 
yoke (jugum) on its top (Ov. Met. vi. 
55.), as in the annexed example, re- 
presenting Circe's loom in the Vati- 
can Virgil. Schneider (Index, R.R. 
Script, s. Tela) con- 
siders that the tela 
jugalis is opposed to 
the upright loom, and 
that it designates a 
machine of similar 
construction to those 
now in use, in which 
the warp is spread in 
an horizontal direc- 




tion, so that the weaver sat at his work 
instead of standing. But it does not 
appear that looms of that description 
were known to the Romans of Varro's 
day, for they are only alluded to by 
Artemidorus (iii. 36. ) and Servius (ad 
Virg. JEn. vi. 14.), and no represen- 
tation of the kind has been discovered 
in any of the ancient monuments'; 
and, furthermore, it is reasonable to 
conclude that looms of the most 
ordinary description would be used 
in farmhouses, where they were only 
applied for making the commonest 
articles for the use of slaves ; and 
in both the passages referred to from 
Varro, the tela jugalis is enumerated 
amongst the instrumenta rustica. 

3. The warp (Virg. Georg. i. 285. ) •; 
i. e. the series of strongly twisted 
threads or yarns, extended on a loom, 
into which the finer ones of the weft 
(subtemen) are woven to make a piece 
of cloth. The word is commonly, 
accompanied by such epithets as stans, 
recta, peudida (Ov. Met. iv. 275. Id. 
Fast. iii. 819. Id. Her. i. 10.); all of 
which imply that the warp was fixed 
in a vertical position, and consequently 
upon an upright loom, such as is ex- 
hibited by both of the preceding illus- 
trations. 

TELAMO'NES ("ArXavTes). Mus- 
t cular figures of men, employed in 
I architectural elevations 

instead of columns, to 

support an entablature 

or a cornice, in the 

same manner as the 

female figures, or cary- 
atides. (Vitruv, vi. 7. 

6.) The annexed ex- 
j ample represents a sup- 
port of this kind from 

the tepidarium of the 

Pompeian baths ; and 

the illustration to that 

word will show the manner in which 

they were applied. 

TE'MO (pv/j.6s). The pole of a 

carriage, cart, or any sort of vehicle. 

(Virg. Ov. Juv. &c. ) The pole was 

permanently fixed to the axle, in the 




T EM PLUM. 



TENS A. 



647 



manner exhibited by the example 
from an ancient bronze car (currus) 
now preserved in the Vatican ; and a 




curncie bar or yoke (jugum) was 
bound on to its extremity by a thong 
(co/mm), or by a bolt shot through it, 
which is seen in its place in the pre- 
sent illustration. When the horses 
were taken out, and the carriage put 
up, the yoke was removed, and the 
vehicle tilted on to its beam end, so 
that the pole would stand upright in 
the air, as described in the following 
passage, erecto eurrum temcne supi- 
nant. Stat. Theb. iii. 414. 

2. (io-Tofioevs). The beam or pole 
of a plough (Virg. Georg. i. 171.), 
which was fastened on to the bent 
end, or plough tail (buris), passed 
between the oxen, and bore the yoke 
by which they were attached at its 
extremitv, as will be understood fry 



with his wand (liluus), in order to 
circumscribe a certain boundary, 
within which he took his observations 
on the flight of birds. Varro, L. L. 
vii. 7. 

2. A piece of land separated and 
marked off by the augurs, with a cer- 
tain solemn formula, to serve for re- 
ligious purposes, but more especially 
for taking auguries. Varro, L. L. 
vii. 8. Cic. Leg. ii. 8. Liv. i. 6. 

3. A temple or religious edifice 
raised upon the land, consecrated as 
above by the augurs ; including also 
the sacred precinct which surrounded 
it. Cic. Verr. ii. 4. 43. 

4. Any place or building which had 
been consecrated by an augur ; as the 
curia (Liv. i. 30. Cic. Dom. 51. ), the 
rostra (Id. Vat. 10.). 

5. In architecture, templa are the 
purlines placed across the principal 
rafters (canterii) in the timber work 
of a roof, for the purpose of receiving 
the common ratters (asserts) on which 
the tiles (tegulce) are laid. (Vitruv. 
iv. 2. 1.) See the wood-cut s. Mate- 
riatio, on which they are marked 

p- o gg. 

"TEN'S A or THEN'S A (ap,ua Bzwv. 
Gloss. Philox. ). A state car drawn 
by animals, upon which the statues of 
the gods were transported in solemn 
procession to the Qrcensian games 
(Festusx. v. Cic. Verr. ii 7. 72. Suet. 




the annexed example, representing 
an Etruscan plough. Compare the 
wood-cut s. Aratrum, 2. a a, which 
exhibits the same object upon a ma- 
chine of more improved construction. 

TEM'PLUM {r^epos), in its 
primary notion, signifies a portion 
which is cut off ; and especially with 
reference to an imaginary space in the 
heavens, marked off by an augur 




Vesp. 5. ) ; as contradistinguished from 
fercuhim, which was carried on the 
shoulders of men. The illustration. 



648 TENTIPELLI UM. 



TEP1DARIUM. 




which is copied from a medal oi 
Nerva, will serve to convey a notion 
of the general style and character of 
these vehicles ; though it cannot be 
pronounced as a positive example of 
the thensa, yet no other name occurs 
so applicable to it as the above. 

TENTIPEL'LIUM (KaAdirovs). 
Literally, that which stretches leather, 
whence a shoemaker 's last 
(Festus s. v.), over which 
the leather is strained, as 
in the annexed example JF^j 
from a painting at Her- 
culaneum. It is probable that this 
was only a colloquial term of the 
trade and common people ; for Horace 
and the Digest use the word forma 
for the same object. 

2. A cosmetic laid over the face 
for taking out wrinkles, by tightening 
the skin (Festus s. v.) ; which usage 
of the word, as well as the former one, 
has an air of colloquialism. 

TENTO'RIUM {awn). Strictly, 
a tent stretched upon cords (from 
tenlus), as contradistinguished from 
tabernaculum, which was formed on a 
framework of wood. But that dis- 
tinction is not strictly observed, and 
the term is applied to any kind of 
tent, either for military or civil pur- 
poses. Hirt. B. G. viii. 5. Suet. 
Tib. 18. Virg. JEn. i. 472., and 
wood-cuts s. Papilio and Taber- 
naculum. 

TEPIDA'RIUM or TEPIDARIA 
CELL A.. A chamber in ' a set of 
baths kept at a moderate degree of 
temperature, in order to prepare the 




body for the great heat of the suda- 



tory or vapour bath, and to break 
the sudden transition after it before 
returning into the open air. (Celsus, 
i. 3. Vitruv. v. 10. 5.) The illus- 
tration represents the interior of the 
tepidarium in the baths at Pompeii. 
It adjoins the undressing-room {apo- 
dylerium), and the thermal chamber 
{caldarium), as directed by Vitruvius 
(/. c. ), to which the door on the right 
hand gave admission, as will be per- 
ceived by referring to the general 
ground-plan of the building at p. 74. , 
where it is marked c. It contains 
three bronze benches {siibsellia) in the 
positions they were found when the 
excavation was made, and a brazier 
{focus) at the farther end for warm- 
ing the atmosphere ; but the tepida- 
rium of the women's department 
(marked G on the general plan above 
referred to) was warmed by flues 
underneath. The walls all round 
are divided into recesses under the 
cornice by a number of male figures 
{telamones), which thus constitute a 
series of small closets, where the 
unguents and other necessaries used 
by the bathers were deposited. It is 
likewise believed that in a limited 
establishment, like that at Pompeii, 
the tepid chamber served also for the 
oiling-room {el Rothes hern, tinciorium), 
to which the bather retired to be 
rubbed and scraped with the strigil, 
after the sweating bath. The small 
dark recess below the window con- 
tained an oil-lamp. 

2. Tepidarium, sc. ahenum or vas. 
The boiler which contained the tepid 
water for supplying a set of baths. 
I (Vitruv. v. 10. 1.) It was placed 
below the cold-water cistern {frigi- 
darium), and above the hot boiler 
! (caldarium), but communicating by a 
pipe with both, so that as the heated 
fluid was drawn off from the latter, 
the deficiency was supplied by an 
equal quantity already partially heated 
from the tepidarium, the vacuum thus 
1 occasioned being at the same moment 
filled up with cold water from the 
i cistern above. Each of these parti- 



TEREBRA. 



TESSERA. 



649 



culars, as well as the process itself, 
is exemplified by 
the annexed il- 
lustration, which 
exhibits all the 
three vessels, with 
the water flowing 
from them, and 
their relative posi- 
tions in respect to 
the furnace, from a 
picture representing 
the interior of a set 
of baths painted on 
the wall of one of the 
apartments in the 
Thermae of Titus at 
Rome. 

TER'EBRA (rtperpov). Literally, 
a borer ; applied as a general term to 
several different instruments used for 
boring holes in wood or other sub- 
stances : — 

1. A carpenter's gimlet (Isidor. 
Orig. xix. 19. 14. Celsus, viii. 3.), 
which makes fine sawdust (scobis) in 
the act of boring. (Columell. iv. 29. 




15. ) This was a very ancient inven- 
tion, whence it was distinguished by 
the name of ierebra aniiqua (Colu- 
mell. /. r.), and exactly resembled 
our own, as shown by the annexed 
example of an ancient gimlet, from 
Ginzrot. 

2. An auger, which makes fine 
shavings (ramenta) instead of sawdust, 
in the act of boring (Columell. iv. 29. 

16. Plin. //. N. xvii. 25.) ; an in- 
vention of later date, which was dis- 
tinguished by the name gallica terebra 
(Columell. Plin. //. cc), and no doubt 
like our own. 

3. (rpvndviov) . A bow-drill; worked 
by the bow-string twisted round its 
handle, and used for piercing small 
holes in metal, stone, or gems (Plin. 




H. N. xxxvii. 76.), as it .still is by 
our jewellers. Pliny 
ascribes its inven- 
tion to Daedalus 
{H.N. vii. 57.), and 
agreeably to that 
tradition the ex- 
ample here intro- 
duced is lying on the 
ground beside the 
bronze heifer which 
that artist is forming 
for Pasephae, in a Pompeian painting. 

4. {rpv-Kduov). A trepan, used by 
surgeons . r or cutting out pieces of 
bone. Celsus, viii. 3. 

5. A military engine, adapted for 
boring into the walls of a besieged 
town. Vitruv. x. 13. 7. 

TERGI'NUM. A thong of leather 
used for scourging slaves (Plaut. 
Pseud, i. 2. 22.) by the Lorarius, 
which see. 

TERUN'CIUS, sc. nummus. The 
last and smallest division of the dena- 
rius, or silver coinage of the Romans, 
containing three-twelfths (una'ce), or 
one-fourth of the as, and thus equal 
in value to the copper quadrans. It 
seems incredible that so small an 
amount should ever have been coined 
in silver, though it is enumerated 
amongst the silver pieces. Varto, 
L. L. v. 174. 

TESSEL'LA. Diminutive of 
Tessera. A small cube of marble, 
stone, or composition, employed in 
making tessellated, vermiculated, and 
mosaic pavements. Senec. Q. A r . vi. 
31. Pavimentum, 3. and 4. 

TESSELLA'RIUS. One who 
makes tessellce for pavements. Cod. 
Theodos. xiii. 4. 2. 

TESSELLATUS. Tessellated; 
applied to pavements (Suet. Cess. 
46.) ; see Pavimentum, 3. 

2. Applied to whips (Apul. Met. 
viii. p. 173.) ; see Flagrum, 2. 

TES'SERA (kv&os). A square 
piece of stone or composition for 
making pavements. (Plin. //. A*, 
xxxvi. 62. Pallad. i. 9. 5.) Same 
as Tessella. 



650 



TESSERA. 



TESSERA RI US. 




2. Tessera lusoria. A die or dice, 
for playing games of chance and 
skill, consisting of a 
small cube of ivory, 
bone, or wood, and 
numbered on the six 
sides, like our own. (Plin. H. N. 
xxxvii. 6. Cic. Div. ii. 41. Mart, 
xiv. 17. Ov. Trist. ii. 473.) It was 
customary to play with three tesserce, 
which were cast out of a box (fri- 
tillus) ; and the highest throw was 
when all the three presented a diffe- 
rent number ; the worst one when all 
came up the same ; as three aces, for 
instance. The example is from an 
original of ivory found at Hercula- 
neum. Compare Talus, i. 

3. Tessera hospitalis (av/uifioXov). A 
tally or token of mutual hospitality 
and friendship ; consisting of a small 
die, which was given by a host to his 



jMANLIVS 

\:..\-<t la x. is mfm 



guest at the time of departure, when 
it was broken into two parts, each 
party retaining one-half, in order 
that if either of them or their descen- 
dants should again meet, they might 
recognize each other, and renew or 
repay their ancient family obligations. 
(Plaut. Pcen. v. 2. 86—93.) The 
example is from an original. 

4. Tessera frumentaria and mim- 
maria. A voucher or ticket given upon 
certain occasions by the magistrates 
to poor people, in exchange for which 
they received the quantities of bread, 
corn, wine, and oil, or sums of money 



©0 


QB 


© ® 


@© 


©8 


©0 



inscribed upon it (Suet. Nero, II. 
Aug. 40. 41.); or sometimes scattered 
in a largesse {congiarium) amongst 
the crowd by the emperors, or wealthy 
personages, for the purpose of courting 
popular favour. (Suet. Dom. 4.) These 
vouchers were at first small square tab- 



lets of wood, like the left-hand figure 
in the illustration, with the number of 
measures to be received marked upon 
them ; but subsequently round balls 
were used like the right-hand figure, 
hollow inside, and having the quan- 
tity inscribed within them ; or con- 
taining a written order for the object 
intended to be given away, when 
that consisted of some fancy article, 
instead of eatables or money. This 
order was payable on presentation at 
the magazine of the donor, and might 

I be sold or transferred. (Suet. //. cc. 

I Juv. vii. 174.) Both the examples 
are from originals found in excaVa- 

j tions ; the manner of distributing 
them is shown in the woodcut s. 

J CONGIARIUM. 

5. Tessera theatralis. A ticket of 
admission to the theatre, or other 
place of public amusement (Mart, 
viii. 78.), distri- 
buted by the du- 
umvir, and entitling 
the holder to a place 
at the representa- 
tion. On it was 
inscribed the num- 
ber of the seat, the 
division and row in which it was 
situate, and in some cases the title of 
the play to be performed, as in the 
annexed example, from an original 
found at Pompeii, in which the 
Casina of Plautus is announced non- 
performance, and the place autho- 
rized to be taken is the eighth on the 
second tier of the third cuneus. 

6. Tessera militaris {avvdyjua). A 
billet, or wooden tablet (Polyb. vi. 
34.) with the watchword 'inscribed 
upon it, which was given out by the 
officers to their soldiers, in order that 
they might have a test for distinguish- 
ing friends from foes ; it was also 
employed as a means by which the 
orders of the commander were dis- 
tributed through the different divi- 
sions of an army. Liv. vii. 35. xxvii. 
46. Veg. Mil. ii. 7. Virg. ^En. vii. 
637. Serv. ad I. 

TESSERA'RIUS. In the army, 




TESSER U LA . 



TESTUDO. 



651 



the orderly who received the billet I 
{tessera) containing the 'watchword ' 
or the order for action from the 
general, and who communicated it 
through the army. Tac. Hist. i. 25. 
Veg. Mil. ii. 7. 

TESSER'ULA. Diminutive of 
Tessera ; a die for making pave- 
ments (Lucil. ap. Cic. Or. 44. ), same ! 
as Tessella ; a ticket or voucher 
(Pers. v. 74.), same as Tessera, 4. ; 
a tablet for voting at the Comitia 
(Varro, R. R. iii. 5. 18.), same as 
Tab ella, 4. 

TES'TA (uarpaKOv, tcepdfiiov). A 
general name for any kind of vessel ! 
made of baked clay or earthenware 
(Plin. Virg. Hor. &c.) ; a tile (Vitruv. 
ii. 8. 19. Tegula) ; a broken frag- 
ment of tiles or pottery. Ov. Met. \ 
viii. 661. Juv. iii. 270. 

TESTA'CEUM. Made of tiles. 
Columell. i. 6. 13. Plin. Ep. x. 46. 
Pavimentum, 6. Spica. 

TESTU and TESTUM. The lid 
of an earthenware vessel, and the 
vessel itself. Cato, R. R. 74. Ov. 
Fast. v. 510., and wood-cuts s. Olla. 

TESTU A'TIUM. Bread baked ; 
in an earthenware pan. Varro, L.L. 
v. 106. 

TESTUDINEA'TUS or -DINA'-I 
TUS. Formed in the shape of a 
testudo, as applied to the roofs and 
ceilings of houses (Vitruv. ii. I. 4. 
Columell xii. 15. I.); see Testudo, 2. 

TESTUDIN'EUS. Made of or 
decorated with tortoise-shell. Prop, 
iv. 6. 32. Juv. vi. 80. 

TESTU'DO (x^" s > X^v-n). In 
its primary notion, a tortoise ; whence 
the name is given to 
a particular stringed 
instrument (Cic. N.D. 
ii. 57. Hor. A. P. 394- 
forming a variety of 
the lyra ; that is, when 
the simple lyre (see 
the wood-cuts s. v. ), 
had been improved by 
the addition of a sound r 
ing bottom, over which the chords 
were drawn to increase the fulness of 




their tone. It was so termed because 
the idea was believed to have first 
occurred to Mercury, the fabled in- 
ventor of the instrument, upon his 
observing a tortoise-shel 1 on the sands 
of Egypt, with the skin of the belly 
dried up into thin strings across it, 
which were found to emit different 
notes when tried with the fingers. 
(Serv. ad Virg. Georg. iv. 464.) 
Hence the form of the sounding- 
board was made to imitate the shell 
of a tortoise, as in the annexed ex- 
ample, which is carried by Mercury 
in a Pompeian painting. It was 
sounded with the fingers, and the 
plectrum, in the manner described and 
illustrated s. Cano, 2. The distinc- 
tion above drawn, though doubtless 
an accurate one, is not, however, 
strictly observed, for the poets fre- 
quently apply the term indifferently 
to any stringed instrument, such as 
the lyra and cithara. 

2. A ceiling formed by four sides, 
converging to a centre (Vitruv. v. 1 . 
6.), as distinguished 
from the vault {camara), 
and the dome {tholus) ; 
whence the name is 
also used to designate 
an apartment covered 
by a ceiling of the kind 
described. (Varro, L.L. 
v. 161. Cic. Brut. 22.) 
The form of the four sides rising to a 
point at the top is cleverly expressed 
by the two cross-lines in the centre 
of the annexed illustration, which are 
intended to represent the roof of an 
atrium, on a fragment of the marble 
plan of Rome, preserved in the Ca- 
pitol. 

3. A shed formed of planks, covered 
with untanned hides, and placed upon 
wheels, so that it could be moved to 
any position required for the protec- 
tion of the men while digging trenches 
and making their approaches up to 
the walls of a besieged town ( Vitruv. 
x. 15. and 16. Cass. B. G. iii. 42. 
and 40.) ; or for covering those 
who worked the battering-ram (tes- 




652 TETRA CHORDOX. 



TEXTOR. 



tudo arietaria. Vitruv. x. 13. 2.) 
which is exhibited by the annexed 




wood-cut, from a bas-relief on 
arch of Septimius Severus. 

4. A shed which soldiers formed 
over head with their shields to pro- 
tect themselves from the missiles of 
the enemy, more especially whilst 
the}' advanced up to the walls of a 




fortified place, in order to scale them. 
(Cses. B. G. ii. 6. Tac. Hist. iii. 27. 
Id. iv, 23.) It was effected by raising 
the shields over the head and shoulders 
and fitting them closely under each 
other, so that the whole formed a 
compact covering like the shell of a 
tortoise, or the pent of a shed, over 
which everything would slide off 
without injuring the men below. 
(Liv. xliv. 9.) The pent was pro- 
duced by the outer rank stooping 
whilst those before them gradually 
stood more and more erect. The 
whole of these details are clearly 
illustrated by the annexed wood-cut, 
which represents a body of Roman 
soldiers on the column of Antoninus, 
formed into a testudo, and advancing 
to the escalade of a German fortress. 

TETRACHOR'DOX {rerpdxop- 
Sov). Literally, having four strings, 
and thus producing four notes (Capell. 
ix. 324. ) ; a scale comprising two 
tones and a half, which formed the 
old Greek musical system. The water 



organ {hydraulus) is termed a tetra- 
chord by Vitruvius (x. 8. 2.), when 
it had onlv four barrels. 

TETRADO'ROS or -OX (rerpd- 
dwpos or -op). Literally, offour hands' 
breadth ; applied to bricks (Vitruv. 
iii. 2. 3.) ; see Later, where the 
comparative sizes of ancient bricks 
are described and exemplified. 

TETRADRACH'MUM {rerpd- 
^paxp-ov). A silver piece of the 
Athenian coinage, containing four 
drachms {drachma), and worth some- 
thing less than 3^. ^d. of our money. 
(Liv. xxxiv. 52.) The example is 




from an original drawn one-third less 
than the actual size. 

TETRAPH'ORI sc. fhalangarii. 
Porters who carried a load in a body 
of four, by means of a bearing pole 
{phalanga). Vitruv. x. 3. 7. See 
the illustrations s. Phalanga and 
PHALANGARII, where the operation is 
performed by two men, and by eight, 
respectively. 

TETRASTV'LOS {rerpdff-vXos". 
Having four columns : either situated 
in a straight line in front of an edi- 



fice (Vitruv. ii 



or at the four 



corners of a square in the interior 
(Id. vi. 3. I., andwood-cut s. Atrium, 
2. j : whence tetrastylon, as a substan- 
tive, is used to designate an interior 
which has a row of columns disposed, 
like a peristyle {peristyliuni), round 
the four sides of a square. Capitol. 
Gord. 32. Inscript. ap. Grut 124. I. 

TEXTOR. TEXTRIX (i<pdvT V s, 
ixhdvTpia). A weaver, male and female, 
(Mart. xii. 59. Id. iv. 19.) The 
process of plain weaving was con- 
ducted in the following manner. The 
warp {stamen, tela), which consisted 
of a number of strongly-twisted threads 
or "yams," was fastened to the cross- 
bar {jugum) forming the top of the 



TEXTOR. 



THE A TR UM. 



653 



loom (wood-cut s. Tela, 2.), or I 
the cloth beam {insubiilum), as i 
the annexed example. A stick ( 




reed {arundo) was then passed in and 
out between each alternate yarn, over 
one and under the other, in the same 
manner as the needle is used in darn- 
ing, so as to divide the whole number 
of yarns into two separate parcels — 
stamen secernit arundo. All the threads 
of one parcel were then passed through 
a set of loops or "leashes" {Ucia), 
fastened on to a rod (liciatorium), cor- 
responding with the "heddle" of our 
weavers, each individual thread being 
passed through a separate loop, as 
seen in the engraving. This process 
of putting on the leashes is described 
by the expression licia telce addere, or 
subnectei'e. The ends of the yarns 
were then fixed to the yarn beam 
(scapus), if there was one, as in the 
wood-cut s. Tela, 1. ; or where col- 
lected into a number of bundles, to 
each of which a weight (pondus) was 
fastened, as here shown, for the pur- 
pose of keeping the warp steady and 
extended while the woof was driven 
home. The loom being thus pre- 
pared, the weaver decussated the warp 
by pulling forward the leash rod, 
which separated one alternate set of 
yams from the other, and produced a 
"shed" or "tram" (trama), that is 
an opening through which the woof 
(subtemen) was conveyed across the 
warp by the instrumentality of a 
rod like a large netting-needle (radius), 
or by a shuttle (alveolus'). The cross- 



thread of the woof became thus inter- 
laced between each alternate thread 
of the warp, and was then rendered 
tight and compact by driving it toge- 
ther with a flat wooden batten (spatha), 
or by the teeth of a comb (pecten) 
inserted between the yarns, and pro- 
ducing the same effect 'as the " reed " 
or "lay" of a modern weaver. Ov. 
Met. vi. 55-58. Schneider, Index. 
R. R. Script, s. Tela. 

TEXTRI'NA (lot6v). A room 
for weaving. VitruV. vi. 4. 2. 

TEXTRI'NUM. Cic. Verr. ii. 4. 
2. Same as the preceding. 

2. (vavir-riyiov). A dockyard, where 
ships are built and repaired. Ennius 
ap. Serv. ad Virg. Airt. xi. 326. 
THALAME'GUS (Oaka/xriySs). A 
j state barge used by the kings of 
Egypt upon the Nile. (Suet. Cees. 
52.) It was fitted up with great 
! splendour, containing all the requi- 
, sites for .a party of pleasure, and 
cabins (thalami) for a numerous suite, 
from which it received the above name, 
as well as the Latin paraphrase, navis 
' cubiculala (Senec. Ben. vii. 70.). 
THALAMUS (edAa/mos). A word 
adopted from the Greek, and bearing 
j a very general and similar significa- 
tion in both languages, in which it 
occurs in the sense of a bedchamber 
(Dormitorium) ; but especially the 
principal one, in which a married 
I couple reposed (wood-cut s. Domus, 
2. p. 252. g. ) ; a dwelling-room 
j (Cubiculum), especially amongst the 
inner apartments of the house ; or 
! the entire dwelling-house itself. Virg. 
J sEn. vi. 623. Vitruv. vi. 10. 2. Ov. 
I Met. ii. 738. Virg. SE11. vi. 280. 

THALASSI'TES (OaAaaairvs). 
j Wine sunk under- the sea in jars to 
; ripen it. (Plin. //. A', xiv. 10.); as 
I opposed to vinutn maris expers (Hor. 
j Sat. ii. 8. 15.), the oivos aQaXaaaos 
of the Greeks. 

THEA'TRUM. A theatre, for 
the representation of dramatic per- 
formances and mimetic exhibitions. 
The earliest theatres, both in Greece 
and Italy, were nothing more than 



654 



THE A TR I'M. 



temporary wooden scaffoldings erected 
for the occasion, and afterwards pulled 
down ; but subsequently they were 
constructed in stone or brick, as per- 
manent buildings, and with a consi- 
derable display of architectural beauty 
and magnificence of decoration ; alike 
in both countries as far as regards the 
general features of the plan, but dif- 
fering materially in some of the inter- 
nal arrangements and in the distribu- 
tion of some essential parts. 

I. The Roman theatre was usually 
built upon a level space within the 
town, and consisted externally of a 
semicircular elevation at one end, 
comprising one or more stories of 
arcades, through which the spectators 
entered, and passed by staircases j 
constructed within them to a number 
of semicircular tiers of seats in the in- 
terior of the building, which were en- 
closed by the external wall described 
and exhibited by the annexed illus- 
tration, representing the circular end 




which has entirely disappeared. The 
circular line of the plan is distinctly 
apparent in the drawing ; as well 
as the columns which decorated 
each story, and the stonework of 
the arches between them, which 
formed so many open arcades, now 
filled up by the wall and windows of 
modem houses, into which the edifice 
has been transformed. The opposite 
extremity of the building, which con- 
tained the stage, apartments appro- 
priated for the use of the actors, 
and conveniences for storing the pro- 
perty. &c, was straight, forming, as 
it were, a chord or base to the semi- 
circle, and was decorated externally 
by a portico (po?'ticus), sometimes of 
considerable extent, containing nu- 
merous colonnades, and open as well 
as covered walks and corridors, 
which formed a favourite place of 
resort for the idle and fashionable 
loungers of the city. A portion of 
these appurtenances, sufficient, how- 
ever, to give an accurate notion of 
the entire structure, is exhibited by 
the lowest part of the annexed illus- 




of the theatre of Marcellus, as it now 
exists in partial ruins at Rome. Two 
stories only remain, the lower one, of 
the Doric order, partly embedded in 
the soil ; over this, the Ionic is more 
perfect ; but there was originally a 
third story, of the Corinthian order, 



tration, which represents the ground- 
plan of Pompey's theatre, from the 
marble map of Rome now preserved in 
the Capitol. It shows the portico at 
the bottom marked in black lines, then 
the walls of the scene and stage, and, 
beyond them, the circular seats for 
the spectators, which were enclosed 
externally by a wall similar to that 
exhibited in the preceding illustra- 



THE A TR UM, 



655 



tion. The interior was open to the 
sky, having no roof, and consisted of 
the following essential parts, distri- 
buted in the manner shown by the 
annexed illustration, representing the 
ground-plan of the theatre at Hercu- 



laneum, which is constructed upon 
the Roman model. The body of the 
house {cavea) where the spectator? 
sat, consists of a number of semi- 
circular rows of seats, formed by 
deep steps {gradus) rising in concen- 




tric lines one above the other, which 
were subdivided horizontally into 
tiers {mceniana), comprising several 
rows each, by broad landing-places 
{prcecwctiones, A A, A A); and verti- 
cally, into cuneiform compartments ^ 
icunei, B B B B b) by a number of stair- i 
cases {scales, a a < a a a), down which 
the spectators descended to the row ! 
where their respective places were | 
situated, upon entering the house ! 
through the open door-ways {vomito- } 
ria, bbbbb) at the head of each j 
staircase, which were reached by | 
means of passages and covered lob- 
bies constructed in the shell of the 
building, precisely in the same man- 
ner as explained and illustrated by 
the text and wood-cut s. Amphithe- 
ATRUMj p. 29. At the bottom of the 



cavea was the orchestra (c), an exact 
haif circle, and answering in use and 
locality to our pit, for it contained 
the seats appropriated to the magis- 
trates and persons of distinction ; and 
was not used, like the Greek orches- 
tra, for a chorus and musicians. A 
little in advance of this was a low 
wall, pulpitum, or p?-oscejiii pulpitum, 
c, forming the front of the stage 
{proscenium, D d) towards the spec- 
tators, and separating it from the 
orchestra. At the back of the stage, 
there was a lofty wall of brick or 
masonry {scena, eee), which formed 
the permanent scene of the theatre, 
with three grand entrances for 
the chief actors ; and behind this, 
the apartments for the actors and 
property ( postsciaiium , .E e), or 



6 5 6 



THE A TR UM. 



what we call the part ' ' behind the 
scenes." The two divisions in ad- 
vance of the stage, on each side of it, 
like our stage-boxes {ff), are sup- 
posed to have been reserved as places 
of honour for the chief magistrates 
of Herculaneum, for they have each 
a private entrance from the portico 
at the back of the house, by a sepa- 
rate staircase {gg) ; but they consti- 
tute exceptions to the general rule, and 
do not appear to have had a perma- 
nent place in every theatre. 

2. {dearpov. ) The Greek theatre 
was usually formed at the foot of a 
hill, the sloping sides of which, when 
cut into steps, afforded accommoda- 
tion for the spectators' seats, and the 
level ground beyond, for the outbuild- 
ings required for the stage, scenes, &c. 
In such cases, the entire locality was 
little more than an excavation, and 
required no exterior elevation ; but 
when the nature of the site would not 
afford such facilities, and it became 
necessary to build on level ground, 
the external construction would 
present features of a similar cha- 
racter to those described as usual in 
the Roman practice. The interior con- 
tained all the parts enumerated in 
the preceding paragraphs, disposed 
in the same manner, but differing in 
some important particulars, as re- 
spects the uses to which a portion of 
them were applied, and the plan 
upon which they were designed ; as 
will be understood by comparing the 




^~t}t- ^^3^ dfp^ 

present illustration, representing the 



j ground-plan of the great theatre at 
| Pompeii, which is constructed upon 
the Greek model, with that of the 
i Roman theatre last inserted. The 
part where the spectators sat {koIXov, 
J cavea) is, like that, open to the sky, 
i and subdivided in a similar manner 
! into tiers by broad landing-places 
(didfanaTa, prcecinctiones), and com- 
! partments of a wedge-like form (AAA, 
I Kepn'ides, cunei), by converging lines 
of staircases (a a a, K\ip.aKes, scalcc) ; 
'. but instead of being semicircular, it 
I consisted of a much larger segment 
of a circle, and thus afforded accom- 
! modation for a greater concourse of 
J visitors. The orchestra (bpx^<TTpa), 
in like manner, was much deeper 
than in a Roman theatre, and was 
not occupied by the spectators, but 
appropriated solely to the chorus, 
who required room to range them- 
selves, and perform their e\ olutions. 
In the centre of the orchestra stood 
the altar of Bacchus (b, Bu^eAn], thy- 
mele), which, being formed of wood, 
has perished, but is restored in the 
illustration, to show its situation. 
The stage and its adjuncts (wpocrnrii'ioi', 
proscenium) was divided in the same 
manner as the Roman, into two parts ; 
the stage itself, from which the 
actors spoke [b, Aoye?oi>, oKpifias, 
puipitum), and the back part, with 
its wall or permanent scene (c, aKt]vi), 
scend). The name of the part be- 
: hind the scenes, corresponding with 
J the Roman posiscenium, is doubtful : 
j some antiquarians think that it was 
j called viro(TK7)viov, but others attribute 
! that term to the low wall which 
■ separates the front of the stage from 
the orchestra. 

3. Theatrum tectum. A covered 
theatre, which had a roof over head, 
like the Odeum of Pericles at 
Athens ; generally used as a concert- 
room. (Stat. Sylv. hi. 5. 91. Inscript. 
ap. Orelli. 3294. ) The smallest of 
the two theatres at Pompeii is be- 
lieved to have been a covered theatre, 
from an inscription found in it, 
in commemoration of the person at 



THECA . 



THERMJZ. 



657 




whose expense the roof was made. It is 
constructed internally upon the same 
plan as other theatres ; but as the upper 
part has fallen into decay, the nature 
of the roof cannot be ascertained. 

THE'CA (0rj/a?). A case to put \ 
anything in ; applied to any descrip- 
tion of objects, with an accompanying j 
epithet to designate the article in- 
tended ; as, theca calamaria, a case J 
for pens ; theca nummaria, for money, 
&c. Virg. Quint. Prop. Varro. 

THECA'TUS. Deposited in a case ; 
applied to the bow (Sidon. Ep. i. 2.), j 
as shown in the wood-cut s. Corytus. ] 

THERIS'TRUM {deptarpou and 
depiaTpiov). A Greek word (Theocr. 
xv. 69.), adopted 
into the Latin 
language at a late 
period. (Tertull. 
Pall. 4. Hieron. 
ii. in Isai. hi. 
23.) In both lan- 
guages, the pre- 
cise meaning of 
the term is somewhat uncertain, be- 
yond the fact that it denoted some 
part of the female attire which was 
worn in summer as a protection 
against the sun. It consisted of a 
square piece of cloth {pallium, Isidor. | 
Orig. xix. 25. 6. ) ; and probably was 
used as a covering for the head, like 
the annexed example, from a bas- 
relief, which closely resembles in its 
arrangement the manner still adopted ! 
by the female peasantry in many j 
parts of Italy, who cover their heads I 
with a linen cloth in summer and a I 
woollen one in winter. The Greeks 
also used different cloths for summer 
and winter ; the summer cloth they I 
termed Qepiarpiov, the whiter one, 
X*ilu-d<TTpi.ov. 

THER'M^E (fle'p/xot). Literally, 
hot springs ; thence, a bath of hot 
water, whether warmed by natural 
or artificial heat. From this, the 
name was subsequently transferred to 
the building which contained a set 
of baths, including cold as well as 
hot, and vapour as well as water j 



baths ; such, for instance, as those 
bequeathed by Agrippa to the Ro- 
man people, of which the noble 
edifice, now called the Pantheon, at 
Rome formed one of the apartments. 
(Plin. H. N. xxxiv. 19. § 6. Id. 
xxxv. 9. Id. xxxvi. 64.) In this 
general sense, the name is conse- 
quently nothing more than a new 
term for BalinE/E ; under which the 
ancient method of constructing and 
arranging a bathing establishment is 
explained and illustrated. 

2. But after the age of Augustus, 
when the Romans had turned their 
attention to the arts of peace, and 
laid out some portion of the tributary 
wealth collected from their exten- 
sive dominions in the embellishment 
of their capitol, the name Therm/E 
was appropriated more particularly 
to those magnificent establishments 
modelled after the plan of a Greek 
Gymnasium, but constructed upon a 
still more sumptuous and extensive 
scale, which, in addition to conveni- 
ences for all kinds of bathing, hot 
and cold, contained rooms for intel- 
lectual conversation, and philoso- 
phical discussions, libraries, picture- 
galleries, apartments for games and 
exercises, open and shaded walks, 
covered corridors, and porticos for 
running, leaping, racing, and other 
gymnastics, as well as every ap- 
purtenance which could conduce to 
the intellectual or physical enjoy- 
ment of a wealthy and luxurious 
population. Suet. Cal. 37. Nero, 12. 
Mart. v. 44. vii. 32. iii. 20. 25. vii. 
34. ix. 76. xii. 83. Capitol. Gord. 
32. Eutrop. vii. 9., in seven of 
which passages, Thermce are opposed 
to Balnea. Very extensive remains, 
which formerly belonged to three 
public buildings of this description, 
are still to be seen in Rome ; the 
thermce of Titus on the Esquiline 
(Suet. Tit. 7.), in which the well- 
known statue of Laocoon was found ; 
the thermce of Caracalla, or Anto- 
niance, on the Aventine (Spart. Cara- 
call. 9. Eutrop. viii. II.), in which 
2 T 



6 5 8 



THERMM. 



were found the statues of the Farnese 
Hercules, the Flora Farnese, and 
the group of Dirce, tied by Zethus 
and Amphion to a wild bull, all pre- 
served in the Museum at Naples ; 
and lastly the thermce of Diocletian, 
covering parts of both the Viminal 
and Quirinal hills, a single room of 
which was converted by Michel An- 
gelo into a church, Santa Maria degli 
Angeli, the largest, after St. Peter's, 
in Rome. The annexed illustration 



shows the ground-plan of the thermce 
of Caracalla, from a survey made by 
the Italian architect Pardini, with a 
few slight alterations in the restored 
portions, adopted in conformity with 
the gymnasium at Ephesus, of which 
a plan is inserted p. 324., and which, 
by comparison with the present one, 
will testify the general uniformity of 
principle existing in the distribution 
and design of these two classes of 
buildings. The dark parts exhibit 



h + + +-fc*# + £HH+ + i! - , 




the actual remains ; the light ones 
are restorations, but sufficiently au- 
thorized by corresponding portions 
still existing, as will readily appear 
upon an accurate inspection of the 
opposite sides. The names and uses 
assigned to each apartment, or divi- 
sion of the edifice, must be under- 
stood as being to a certain extent 
uncertain and conjectural, excepting 
where the traces left in the ruins are 



sufficient to demonstrate of them- 
selves the original intention ; but 
still, by affixing names to them, the 
object will be served of conveying to 
the reader, in a concise form, a clear 
and distinct notion of the magnifi- 
cence of these edifices, and of the 
number, variety, and general dispo- 
sition of the dependencies contained 
in them ; for the thermae of Diocle- 
tian, though built upon a still larger 



THERMsE. 



659 



scale, are laid out upon a plan ex- 
actly similar to the present one in all 
essential parts. 

A A. A colonnade fronting the 
street, an addition to the original 
building commenced by Heliogabalus, 
and completed by Alexander Severus. 
(Lamprid. Heliog. 17. Id. Alex. Scv. 
25.) The range of small apartments 
behind this colonnade are supposed 
to have been separate bathing-rooms, 
with an undressing-room [apodyte- 
rium) attached to each for the use of 
persons who did not wish to bathe 
in public. B. The entrance, ccc. 
Three single corridors round the 
central pile of buildings, with a 
double one, D D, on the south-west, 
restored in conformity with the gym- 
nasium at Ephesus : although no 
traces of these are left, there would 
clearly be a vacant space on the 
ground-plan without them, which 
requires to be filled up. E E. Exe- 
drce, for philosophers and literary 
characters to sit and converse in, 
constructed with a semicircular absis, 
remaining on the left side, round 
which the seats M ere ranged. F F. 
Corridors, like the Greek xysti, in 
front of the exercising-grounds, and 
having a separate apartment at each 
end, which probably served for some 
of the games or exercises adopted 
from the Greeks. GGGG. Open 
walks {hyptzthrce ambulatioiies), plant- 
ed with trees and shrubs, and laid 
out with vacant spaces between, for 
active exercises. H. The stadium, 
with seats round, for spectators to 
view the racing and other exercises 
performed in it ; hence also termed 
theatridium. The works at the back 
of this contain the water-tanks, and 
furnaces below them, which heated 
the water for the baths to a certain 
temperature, before it was conveyed 
by pipes into the coppers immedi- 
ately adjoining the bath-rooms ; with 
I, the general reservoir {castelhwi), and 
J, a portion of the aqueduct which 
supplied it. For the other apart- 
ments at this extremity of the struc- 



ture, K K, I. L, M M, no special use can 
be authoritatively assigned, beyond 
the inference drawn from their lo- 
cality near the exercising-grounds, 
that they M ere probably intended for 
some purpose connected with bodily 

j activity. The central pile of build - 

i ing contained the bathing-apart- 

1 ments, some of -which still retain suf- 
ficient traces for their uses to be 

I attributed with confidence. N. Ka* 
tatio, a large swimming-bath, flanked 
by a suite of rooms on each side, 

j which served as undressing-rooms 
{apodytcria), and chambers for the 

j slaves (capsarii), who took charge of 
the clothes while their owners were 

j bathing : the inferiority of fittings 
and decoration in these rooms indi- 
cate that they were intended for me- 
nials. O. The caldarhim, with four 
baths (1, 2, 3, 4) for warm water (<?/- 
vet) in each of its angles, and a labrum 
(5, 6) on each flank. The steps still 
remain which conducted into the 
baths, and part of a pipe through 
which the water was introduced into 
one of them ; the roof over the cen- 
tral part, as well as that of the prece- 
ding one (n), was supported upon 
eight immense columns. The apart- 
ments farther on beyond these, which 
are too much dilapidated to be re- 
stored with any degree of certainty, 
contained the laconicum, or vapour- 
bath, for which the circular room 
(p) has every appearance of having 
served. -Q Q are ascertained, from 
remaining vestiges, to have been 
cisterns for water near the bath- 
rooms, and filled from the tanks at 
the farther end of the edifice. The 
two spacious apartments R R, within 
the lateral corridors on each flank, 
were covered rooms for exercise in 
bad weather ; and seem well adapted 
for the game of ball {sphceristeria) , to 
which the Romans were much ad- 
dicted. The remaining ones on the 
farther side, under the double por- 
tico, s s, were two cold plunging 
baths {baptisteria), with an oiling- 
room (elccot/ieshun, T t), and a cold 



66o 7HERM0P0LIUM. 



THORAX. 



chamber {frigidarium, uu) on each 
side. The whole exterior occupies 
one mile in circuit ; and the central 
pile had an upper story, traces of 
which remain, where the libraries 
and picture-galleries were probably 
situated. 

THERMOPO'LIUM (eepfxoird- 
Aiov). A shop in which warm drinks 
{calida) were sold (Plant. Trin. iv. 
3. 6. Id. Rud. ii. 6. 45.), like the 
cafe of modem Europe. 

THER'MULyE. Diminutive of 
Therms ; the diminutive, however, 
not bearing a sense of inferiority or 
disparagement, but, as is frequently 
the case, intended to convey a notion 
of extreme perfection. Mart. vi. 42. 

THOL'US (doXos). A cupola or 
do7?ie for roofing over any circular 
building (Vitruv. iv. 8. 7. Ov. Fast. 
vi. 282. ) ; applied both to the interior, 
or ceiling formed within it (Ov. Fast. 
vi. 296. Virg. JRn. ix. 408.), and to 
the exterior, or outside roof. (Mart, 
ii. 59.) The illustration, from a 














hi 



medal of Nero, establishes the genu- 
ing meaning of the term ; for it re- 
presents the great market for ready- 
dressed provisions {macettum viag- 
mtm), which, we leam from Varro 
{op. Non. p. 448. ), was covered by a 
cupola [tholum macelli),zs here repre- 
sented. 

THORACA'TUS (dccpaKo^opos). 
Wearing a thorax, or cuirass. Plin. 
H. A T . xxxvii. 37. 

THO'RAX (0wpa£). Properly, a 
Greek word, which corresponds with 
the Latin one Lorica ; but the two 



are opposed to each other in a passage 
of Livy (xlii. ci.), loricce thoracesque, 
where the lorica is a corselet of lea- 
ther, the thorax a cuirass of metal. 

2. {irporoixi].) A portrait in mar- 
ble, bronze, or other material, repre- 
senting the person as far as the breast 
only, which we call a bust. (Tre- 
bell. Claud. Goth. 2. Vitruv. Com- 
peiid. 2.) The example, from a bas- 




relief, represents an artist in the act 
of modelling a thorax, either in wax 
or clay, as testified by the modelling 
stick which he holds in his left hand, 
and probably one of those small busts 
which the Romans used to preserve 
in their houses as family portraits, 
under the title of ancestral images 
{imagines majorum). It is to the 
above custom, that the first design of 
making busts, as a particular style in 
art, is to be referred, the encourage- 
ment subsequently given to it pro- 
ceeding from the advantage it af- 
forded to persons of small means, 
who could not afford the expense of 
a full-length statue. This will ac- 
count for the circumstance, otherwise 
singular, that the ancient name for a 
bust is only met with in late writings ; 
for it should be borne in mind that 
the early works of Greek art, so 
commonly classed under the name of 
busts in our museums, were termed 
Hermes by the ancients ; and that 
they were not busts in reality, but 
only heads without shoulders, in- 
tended to be fixed on the top of a 
square post, the pedestals on which 



THRAX. 



THYRS1GER. 



66l 



they are now seen being entirely 
modem. 

THRAX, THR.-EX, or THREX. 
A Thracian gladiator (Senec. Q. iV. 
iv. i.); so termed because he em- 
ployed the same arms and accoutre- 
ments as the natives of Thrace ; viz. 
a knife with a curved blade and 
sharp point (sica)^ and the small 
Thracian shield (Festus s. v. ), which 




was square in outline, but convex in 
surface, as exhibited by the illustra- 
tions, both from devices on terra- 
cotta lamps. When fighting, he 
often received his opponent in a 
crouching or kneeling posture, as 




here shown, which aptly illustrates 
and explains the allusion of Seneca 
(/. c. ). who designates a person of lowly 
stature by assimilating him to the 
figure of a Thracian gladiator await- 
ing the attack. Compare Juv. vi. 263. 

THRON'US (6 P 6uos). A throne 
(Plin. H. N. xxxv. 36. § 2. Auct. 



Pervigil. Ven. 7.) ; only an adopted 
I form of the Greek word, for which 
the pure Latin term is SOLIUM. 
THY' AS or THY'IAS (0tW or 
I Qvias). A bacchante (Ov. Fast. vi. 
514. Catull. 64. 392. Virg. JEn. iv. 
302. ) ; a Greek form adopted by the 
1 poets ; same as Baccha. 

THYM'ELE or THYM'ELA 
I (6vn4\f)). Properly, a Greek word, 
meaning literally a place for sacrifice, 
such as a temple or an altar ; but 
expressly used to designate the altar 
of Bacchus in a Greek theatre, which 
was a square platform, with steps up 
to it, situated in the centre of the or- 
chestra (see the ground-plan s. The- 
ATRUM, 2., on which it is marked B. ). 
It was used for various purposes ; to 
serve as an altar, to represent a fune- 
real monument, or any similar object 
required in the representation of the 
; piece ; to conceal the prompter, who 
I was placed immediately behind it, 
while the pipe player {tibicen), and 
occasionally the leader of the 
chorus, took their station upon it. 
In a Roman theatre there was no 
t/iymde, because their orchestra was 
entirely appropriated to the accom- 
modation of spectators, like our pit. 

THYMEL'ICI (dv^iKoi). The 
chorus of a Greek theatre, or the 
musicians who sung and played upon 
and around the altar of Bacchus {thy- 
me!e) in the orchestra ; as opposed to 
scenici {<rKr\vtKoi), the regular actors, 
who performed upon the stage. Yi- 
truv. v. 7. 2. Isidor. Orig. xviii. 47. 

THYRO'MA (Oifwfia). The 
Greek name for an entrance-door or 
door- way. (Yitruv. iv. 6. I.) See 
Janua. 

THYR'SIGER. Carrying the 
thyrsus ; an epithet descriptive of 
Bacchus and his followers (Senec. 
! Med. no. Id. Hipp. 753.), who car- 
j ried that instrument on their shoul- 
ders, when engaged in celebrating 
the Bacchanalian rites, in the man- 
ner exhibited by the figure subjoined, 
which is copied from a painting 
at Pompeii, representing several of 



662 TH YR SI TENENS. 



TIARA. 



the usages connected with a sacrifice 




to Bacchus. 

THYRSIT'ENENS. (Anthol. 
Lat. i. p. II. Burm.) Same as the 
preceding. 

THYR'SUS {eipaos). A thyrsus ; 
that is, a long pole, with an orna- 
mental head, formed by a fir cone, or 
by ivy, or vine-leaves, which was 
carried by Bacchus and his votaries 
at the celebration of their rites (Hor. 
Od. ii. 19. 8. Stat. Theb. ix. 614.). 
It consisted originallv of a spear, 
with its point concealed by the above 
device. (Macrob. Sat. i. 19. Sen. 
Here. Fur. 904.) The illustration 
shows the three ways of decorating 
the head of a thyrsus just described ; 

Si M ^k'Wk. 




with ivy leaves on the left, vine-leaves 
on the right, and by a fir cone in the 
centre, all from Pompeian paintings ; 
but the complete instrument, with its 
shaft, is exhibited by the preceding 
wood-cut. 

TIA'RA or -AS (ridpa or -as). 
The tiara ; a cap or fez, which 
formed the national head-covering of 
the Parthians, Armenians, Persians, 
and inhabitants generally of the 




An upright tiara, 
was confined to 



north-western districts of Asia. It 
consisted of a small skull-cap, made 
of cotton, and 
without stiffen- 
ing, which was 
placed on the 
top of the head, 
so as to leave 
the front hair 
over the fore- 
head uncover- 
ed, and kept 
from falling off by a narrow band 
tied round the occiput (Hieron. Ep. 
64. n. 12. Val. Flacc. vi. 700.), pre- 
cisely as shown by the annexed ex- 
ample, from a bas-relief of Persepo- 
litan sculpture. 

2. Tiara recta. 
the use of which 
kings only of 
those nations 
mentioned in 
the last para- 
graph (Senec. 
Ben. vi. 31.) ; 
and which, in- 
stead of being 
soft and flex- 
ible, like that worn by the other 
classes, was stiffened, so as to stand 
up like the crown of a hat, above the 
head, as exhibited by the annexed 
example, representing Tigranes, king 
of Armenia, from a Syrian medal. 
In the Persian language, it was called 
cidaris. 

3. Tiara Phrygia. 
tiara (Juv. vi. 516. 
254.) ; a term 
used by the 
Roman poets, 
instead of mi- 
tra, to desig- 
nate the long 
flexible cap, or 
Phrygian bon- 
net, as we call /// 
it, which was // 
tied under the 
chin by lappets {rediniiculd) covering 
the side of the cheeks (Juv. /. c.), as 
in the annexed example, from a 




The Phrygian 
Virg. s£n. vii. 




TIBIA. 



66 3 



Pompeian painting, representing Pa- 
ris, the Phrygian shepherd. 

TFBIA (auKos). The name given 
to several different wind-instruments 
in very common use amongst the an- 
cients, made of reed, cane, box-wood, 
horn, metal, and the tibia or shin-bone 
of some birds and animals, whence the 
name originated ; all, however, be- 
longing to a similar class, character- 
ized by having holes or stops for the 
fingers, and being sounded by a 
mouth-piece inserted between the 
lips. 

1. {/j.6uavXos. ) One of the earli- 
est and simplest forms of the tibia 
consisted of ^ 

a small box- ikr^- " - r " N ~^ > 
wood pipe, ^^""^ 
something like the modern flageolet, 
and precisely similar to the instru- 
ment still used by the shepherds, or 
"pifferari" of the mountains near 
Rome ; as shown by the annexed 
example, from a statue representing a 
Faun. In this form, it was also ex- 
pressly designated by the Greek name 
monaulos. (Mart. xiv. 64.) 

2. Tibia gingrina (7177 pes). A 
very small and simple pipe, made out 
of a fine quality of reed, and pro- 
ducing a shrill and plaintive note, like 

c tg^ . . . 

that of our fife, which was much 
used in Phoenicia and Egypt. (So- 
lin. 5. Festus s. v. Athen. iv. 76.) 
Several specimens have been found in 
the tombs of Egypt, varying in length 
from nine to eighteen inches ; one of 
which, nine inches long, is shown by 
the annexed wood- cut, from Salt's 
collection in the British Museum. 

3. Tibia obliqua (irAay'iauKos). A 
pipe something like our bassoon, with 
a mouth-piece inserted on the side of 
the tube, and when played, held in 
an oblique position, so that the top 
part came against the right ear {per 
obliquum calamum ad aurem porrectum 
dextram, Apul. Met. xi. p. 245.), as 
exhibited by the annexed example, 



from a bas-relief in the Vatican, 
which represents a number of genii 




engaged in Bacchic festivities. It 
was said to be invented by Midas 
(Plin. H. A T . vii. 57.), and was attri- 
buted to the satyrs and followers of 
Bacchus. Serv. ad. Virg. JEn. xi. 737. 

4. Tibia vasca. Supposed to have 
been a pipe of similar character to 
the last, but of a more simple and 
less powerful kind, which was em- 
ployed for beginners to practise upon, 
the form of the mouth-piece facilitating 
the production and modulation of the 
tones ; from which circumstance it is 
thought thatthe Xiaxsxzoivasca, meaning 
literally light or inferior, was attributed 
to it. (Solin. 5. Salmas. ad Vopisc. 
Carin. 19. Gloss. Philox.) If this no- 
tion be correct, an example is afforded 




by the annexed figure, representing a 
terminal statue of Pan in the British 
Museum, in which the mouth-piece is 
fixed on like the last specimen, but the 
pipe is smaller, and consists of a sim- 
ple reed or cane. The right arm and 



664 



TIBIA . 



lower portion of the pipe are modern 
restorations. 

5. Tibia longa. The long pipe 
which was employed in religious ce- 
remonies, in the temples, and at the 
sacrifice, to emit a loud and solemn 
strain during libation. (Marius Vic- 
torin. i. 2478. ) The illustration is 



from a bas-relief published by Casali 
[Splend. Urb. Rom. iii. I.), represent- 
ing a sacrifice, in which four figures 
are introduced with the same instru- 
ments, all of which are nearly as long 
as the height of the performers. 

6. Tibia curva (ZAv/jlos). The 
Phrygian pipe ( Athen. iv. 79. ) ; espe- 
cially employed in the ceremonials of 
Cybele. (Pollux, iv. 74.) The 
tube was made of box- wood, with a 
bent end, like a horn, affixed to its 
farther extremity (Pollux, /. c. ), as 
shown by the annexed example, Irom 



and not, like the last example, 
branching from a common stem. 
The specimen introduced is from a 
marble bas-relief of the Villa Mattei, 



in which they are held by a muse. 
The Hecyra of Terence was accom- 
panied by pipes of this description, 
as we learn from the notice prefixed 
to the play ; — ■ modos fecit Flaccus 
Clandi, tibiis paribus. 

8. Tibice impares. A pair of un- 
equal pipes played by a single per- 
former, but each of which had a dif- 
ferent pitch, or produced a different 
sound, the one base and the other 
treble, believed to result from in- 
equality in the relative length of each 
pipe, and of the intervals between 
the stops, as the figures in the an- 
nexed wood-cut, also from a bas-re- 
lief, seem to indicate. The Phormio 
of Terence was accompanied by pipes 




a Roman bas-relief ; whence it is 
termed curva (Virg. ^/z. xi. 737. of this kind, as mentioned by the no- 
Tibull. ii. 1. 86.), or tibia adunco cor- tice prefixed to the play -—modos 
nu (Ov. Met. iii. 533. ). But it f ec *t Flaccus Claudi, tibiis imparibus. 
was often made with a double branch I 9- Tibia dextra (ali\bs avtyftos). 
proceeding from the same stem, as I That one of a pair of pipes which 
exhibited by the annexed figure, also was held in the right hand when play- 




from a bas-relief ; and the strain 
emitted by it is, in consequence, de- 
scribed by the epithet biforis (Virg. 
ALn. ix. 618. biforem dat tibia cantum ; 
Stat. T/ieb. iv. 668. biforem tumul- 
tum). 

7. Tibice pares {Cc'vyy). A pair of 
pipes, of equal length and bore, both j 
of which produced the same tone, viz. 
both base or both treble ; inflated 
also together by one musician, though 
each pipe was a separate instrument, 




ing (Festus s. v.), as shown by the 
annexed figure, from a painting at 



TIBIA. 



T1BICEN. 665 



Herculaneum. It was made from I 
the upper part of the reed or cane j 
(Theophrast. H. P. iv. 12. Plin. | 
H. N. xvi. 66.), and produced the 
deep or base notes [gravi bombo, Apul. 
Flor. 1. 3. 2.), whence it is termed 
the "manly pipe" by Herodotus (i. 
1 7. ) The Eunuch of Terence was 
accompanied by a pair of base pipes 
— tibiis duabus dextris ; the Andria 
by a double set of pipes, one pair of 
which were both base, the other both 
treble — tibiis paribus dextris et sinis- 
tris. 

10. Tibia sinistra or Itri'a ' (avAos 
yvvainriios). That one of a pair of 
pipes which was held in the left hand, 
as shown by the last illustration. It 
was made of the lower part of the 
reed or cane near the roots (Theo- 
phrast. H. P. iv. 12. Plin. H.N. xvi. 
66.), and produced the sharp or treble 
notes {acuto tiunitu, Apul. Flor. i. 3. 
2.); Avhence it is termed the "wo- 
manly pipe" by Herodotus (i. 17.). 

11. Tibia incentiva. The leading, 
or base pipe ; another name for tibia 
dextra (Varro, R. R. i. 2. 15.), be- 
cause the right-hand pipe was the 
one which commenced the strain. 

12. Tibia succenliva. The second, 
or treble pipe ; another name for 
tibia sinistra (Varro, R. R. i. 2. 15.), 
because the strain, just commenced 
by the base, was taken up and fol- 
lowed by the treble, or left-hand 
pipe. 

13. Tibia Sarrance. A pair of 
pipes, of equal length and bore, like 
the tibia pares, so that both of them 
were attuned to the same pitch. 
(Serv. adY'vcg. JEn. ix. 618.) The 
Adelphi of Terence was accompanied 
by this instrument, which is supposed 
to have received its designation from 
Sarra, the ancient name for Tyre ; 
but nothing really authentic is known 
respecting the origin of the name, nor 
of the characteristic properties of the 
instrument. 

14. Tibice milvince. Pipes which 
emitted a peculiarly sharp and shrill 
tone (Solin. 5. Festus s. v. );the form 



and distinctive characteristics of which 
are not otherwise ascertained. 

TIBIA'LE (-rrepiK^/xis) A legging 
or long gaiter, which went' round the 
shin [tibia) from the 1 
knee to the ankle ; not \ j) 

commonly worn by the /*^/ 
Romans, but occasion- ft} 
ally adopted under the i 1 " / f 
Empire by persons of l , / I 
delicate constitution like hf/Jll 
Augustus (Suet. Aug. J^i 
82.) ; or by those whose ^ - ^>> _ 
employments rendered such a protec- 
tion advantageous, such as soldiers 
(Paul. Dio. 49. 16. 14.) ; or by hunts- 
men, for which usage the illustration 
affords an authority, being worn by 
a horseman in a Roman bas-relief, 
at a hunt of wild bea-ts. 

TIBI'CEX {abXi]T7]s). A musician 
who plays 011 the pipes {tibicv). The 
pipers formed a corporation at Rome 
(Inscript. ap. Grut 175. 10. Val. 
Max. ii. 5. 4.), where they were 
held in estimation (Ov. Fast. vi. 6. 
57.), and extensively employed in 




religious festivals and solemnities 
(Ov. /. c. Cic. Agr. ii. 34. Plin. H. X. 
xxviii. 3. ), at funerals (Id. x. 60. ), 
and on the stage. (Hor. A. P. 215.) 
The illustration, from a painting at 
Pompeii, represents a piper at the 
theatre, sitting upon the raised altar 
{thymele) in the orchestra, beating 
time Avith his left foot, and draped in 
the long vest, as described by Horace 
(/. c). 



666 TIBICINA. 

TIBI'CINA (avArjrpis). A female 
player on the pipes (tibia), as repre- 




sented by the annexed figure from 
a painting of Herculaneum. (Mart, 
xiv. 64. ) These were generally girls 
who went about playing for hire at 
dinner parties and festive entertain- 
ments. Plaut. Aid. ii. 4. 2. Most. iv. 
3. 2. Stick, ii. 3. 56. 

TIGILLUM. Diminutive of 

TlGNUM. 

T I G N A' R I U S sc. faber. A 
timber worker ; meaning strictly one 
who hews and puts together the 
timbers and beams (tigna) of a roof 
(Cic. Brut. 73.) ; this constituted a 
trade by itself amongst the Romans, 
whose members were associated in a 
distinct corporation. (Inscript. ap. 
Grut. 360. 2. ) But in the language 
of the law books the term was applied 
in a more general signification, like 
our builder, and included all those 
who were engaged in any description 
of building operations. Cajus. Dig. 
50. 16. 235. 

TIGNUM. Generally, a beam or 
timber for building ; but the term is 
more specially used to designate the 
tiebeams in the timber work of a roof 
(Vitruv. iv. 2. 1.); which are placed 
across the architrave or main beam 
(trabs) ; as shown by the plan s. 
Materiatio, on which they are 
marked Jdddd. These form the 
principal beams of the soffit in the 
interior of a building ; and in stone 
edifices of the Doric order, their ex- 
tremities are represented externally 
by the triglyphs ; but in Ionic and 



TINTINNA B UL UM. 

Corinthian elevations, they are not 
accounted for externally, being en- 
tirely concealed by the slabs of the 
continuous frieze (zophorus) which 
covers them. 

TINA, A vessel in which wine 
was brought into the eating-room in 
early times. (Varro, ap. Non. s. v. 
p. 544. ) Nothing is known respect- 
ing its peculiar properties ; but we 
may infer that it was of considei'able 
size, since Varro speaks of it as a sub- 
stitute for the skin (uter) ; and No- 
nius associates it with the cask (cupa). 
The modern Italians retain the word 
in nearly its old form, il tino, and use 
it to designate the vat in which 
grapes are trod out at the vintage. 

TINTINNABULA'TUS. Carry- 
ing a bell, especially with reference 
to animals (Sidon. Ep. ii. 2.), round 
whose necks they were attached 
amongst the ancients for the same 




purposes as amongst ourselves. The 
example is from a small bronze cast. 

TINTINNA'BULUM ( K d>8a>v). A 
bell (Plaut. Trin. iv. 2. 162.); made 
in similar shapes, and used for much 




the same purposes as at the present 
day ; viz. , at the door of a house 
(Suet. Aug. 91. Compare Sen. Ira. 
hi. 35. ), for calling the servants ; at 
the baths, to give notice when the 
water was ready (Mart. xiv. 163.); 



TINTINNA C UL US. 



TOGA. 



667 



at the sacrifice (Plant. Pseud, i. 3. 
112.); and for fastening round the 
necks of animals, both as an object of 
ornament and use. The illustration 
represents five bells of different forms 
from ancient originals ; the two on 
the left side at the top are common 
shop-bells ; the two below them, 
attached to a flat band, were used for 
a horse's breast-belt ; the other two 
are hand -bells of a larger description. 

TXNTINNA'CULUS. One who 
makes another's ears tingle (Plaut. 
True. iv. 3. 8. ) ; a nickname given to 
the Lorarius, in allusion to the effect 
produced by the blows dealt upon the 
slave whom he punished. 

TIT'ULUS. A placard or board 
attached to a long pole, and carried 
by the soldiery 
in triumphal pro- 
cessions, to re- 
cord the num- 
ber of prisoners, 
amount of booty, 
and names of the 
towns or coun- 
tries captured ; 
all which details 
were inscribed 
upon it in large 
characters, for 
the information of the populace. (Ov. 
Trist. iv. 2. 20.) Ihe illustration 
represents one of the boards carried 
at the triumph of the Emperor Titus, 
after the conquest of Jerusalem, from 
the arch erected in commemoration 
of that event. 

2. The title or lettering-piece of a 
book (Plin. Fp. v. 13. 3. Senec. 
Tranq. 9.) Same as Index, under 
which term the object is explained 
and illustrated. 

3. A notice or bill put up against a 
house to announce that it was to be 
let or sold (Plin. Ep. vii. 27. 7.); 
hence the expression mittere lares sub 
titulo (Ov. Ran. 302. Compare Ti- 
bull. ii. 4. 54. ) means to advertise a 
house for sale. The notice of sale 
declared the price and particulars 
(Plin. /. c.) ; the form for letting was 




comprised in the words Est Lo- 
CANDA, which is commonly retained 
at the present day in modern Rome. 

4. An epitaph (Plin. Ep. vi. 10. 
3.) ; and any kind of inscription 
upon monuments, buildings, ves- 
sels, &c. 

TOGA {T-q&evita). A toga ; the 
principal outer garment of the Ro- 
mans, which formed the distinctive 
national costume of that people, as 
the pallium did of the Greeks. It 
was usually made of white wool, ex- 
cepting in cases of private mourning, 
or amongst the very poorest classes, 
who could not afford the expense of 
frequent cleaning ; in both which 
cases dark wool of the natural colour 
was employed. 

As the size and manner of adjust- 
ing this garment was not always the 
same, but partook of several modi- 
fications at different epochs, much 
doubt and difficulty has been ex- 
perienced by scholars and antiquarians 
in determining the precise form and 
measure of the drapery which com- 
posed it ; for although a great num- 
ber of figures clothed in the toga still 
remain, both in bas-reliefs and as 
single statues, yet they belong, almost 
without exception, to the Imperial 
period, and only represent the latest 
and most ostentatious fashion in 
which it was adjusted. It is, conse- 
quently, to the works of Etruscan art, 
from which nation, either directly or 
indirectly, the toga descended to the 
Romans, that we must look for the 
earliest specimens of its style ; and in 
them we find demonstrative evidence 
that it was made of a lunated or 
semicircular piece of cloth, as Diony- 
sius states (iii. 61.), and that it was 
of moderate dimensions, so as not 
to form any bend or simis across the 
chest, agreeably to the account of 
Quintilian (xi. 3. 137.) The first of 
these properties is exemplified by the 
figure in the next page, from a small 
Etruscan bronze, in which the cres- 
cent-like shape of the cloth is mani- 
festly indicated by the numerous pa- 



663 



TOGA. 




rallel folds at its extremities, pro- 
duced by drawing the 
hollow edge into a 
straight line, or tight 
across the back, which 
constitutes the first 
process in adjusting 
the drapery to the 
person, as exhibited 
by the figure. After 
the centre of the small- 
est or upper curve 
had been raised against 
the back of the neck, 
both ends were drawn over the 
shoulders, so as to hang down per- 
pendicularly in front, like the Greek 
pallium (see wood-cut s. Pallium, 
i. ), but without any brooch under the 
chin ; the right one was then taken 
up and drawn tight under the chin, 
so as not to produce any sinus, and 
then cast over the left shoulder, so 
that the extremity fell like a lappet 
down the back, in which case both 
the arms would be 
completely covered 
by the drapery, as 
shown by the annexed 
example from an en- 
graved gem, also of 
Etrusca 1 workman- 
ship ; or, if the wearer 
wished to leave his 
right arm free for ac- 
tion, instead of draw- 
ing the right side over the top of the 
shoulder, he passed it under the arm- 





pit (see the first figure), and then 
threw it over the opposite shoulder, 
in the manner exhibited by the 
third example from an Etruscan 
statue of bronze. Moreover, in all 
these instances the restricted size of 
the drapery, as compared with the 
later styles of the same garment, 
satisfactorily explains why a toga of 
this kind is termed toga restricta. 
Suet. Aug. 73. 

The first alteration introduced, as 
it is reasonable to conclude, under 
the republic, consisted in increasing 
the size of the drapery, without alter- 
ing the character of its outline, which 
still retained the lunated form, when 
spread out, but consisted of a larger 
segment than the original semicircle, 
and thus produced a garment of in- 
termediate size, between the first and 
early style just explained, and the 
last fashion described in the next 
paragraph ; such as was usually worn 
by Augustus, and is distinguished by 
the expression, neque restricta, neque 
fusa (Suet. Aug. 73), that is, neither 
scanty nor profuse. But these en- 
larged dimensions made it necessary 
to adopt some alteration in the manner 
of adjusting it upon the person, and 
led to the formation of a very short 
sinus [perquam brevis. Quint, xi. 
3. 137.), which first came into use 
during the age which succeeded to 
the primitive one (Quint. /. c. ); its 
object being to carry off the additional 
length given to the drapery, by de- 
pressing a certain por- 
tion of it in front of the 
person, in order that the 
end cast over the shoul- 
der might not hang too 
low behind. The ar- 
rangement is distinctly 
exhibited on the annexed 
figure, from a statue in 
the library of St. Mark, 
at Venice ; in which it 
will be perceived, upon 
a comparison with the 
preceding examples, that 
the right side, crossing 




TOGA. 



669 



the chest, instead of being drawn 
close under the chin, or tight under 
the arm-pit, is depressed a little in 
front, so as to form the short sinus 
above mentioned, and thus create a 
bed for the arm to rest in, which is 
itself completely covered, leaving 
nothing but the hand and a small 
part of the chest exposed. This is 
the attitude intended by the expres- 
sion brachium veste continere (Quint. 
/. c. ) ; and was the one commonly 
adopted by the orators of the republic, 
who in this respect imitated the style 
of the Greeks. (Quint. /. c. ) Indeed, 
all the examples hitherto produced 
present a very close resemblance to 
the figures draped in the Greek 
pallium (see the wood-cuts s. v.); the 
principal difference consisting in the 
greater number and amplitude of the 
folds exhibited on the toga, and which 
naturally result from the curved out- 
line of the drapery, whereas those of 
the pallium are fewer and more scanty, 
and sit closer to the body, as would 
be a natural consequence from the 
rectangular form of the cloth which 
composed it. The distinction here 
pointed out has not been lost sight of 
in the wood-cuts ; for it is sufficiently 
indicated by the different character 
of the markings upon them, as will 
appear by comparing them together, 
and observing them narrowly ; but it 
would be at once self-evident if they 
could have been executed upon a 
larger scale, to give room for more 
perfect and minute details, or to those 
who may have an opportunity of in- 
specting the originals. 

The ample toga, toga fusa (Suet. 
■Aug. 73. Compare Hor. Epod. 4. 8. 
Ov. Rem. Am. 680.), or last style, 
which prevailed in the age of Augustus 
and the succeeding emperors, though 
presenting a very different appearance 
to the eye, was only produced by still 
further enlarging the size of the dra- 
pery, until its outer circumference 
•would form a complete circle (ro- j 
timda, Quint, xi. 3. 139.) when 
spread out upon the 'ground, like 



an Italian or Spanish cloak ; the inner 
edge being likewise hollowed out, like 
the preceding instances, but in such a 
manner as would produce a greater 
breadth of fold when wound round 
the person, which Quintilian indi- 
cated by the expression " well cut" 
{apte ccesa, I. c). This increase of 
dimension, like the last one, produced 
a new fashion of adjustment, in which 
all resemblance to the Greek pallium 
is lost, and the drapery itself appears 
an entirely distinct dress. It was 
first put on to the left shoulder, in 
such a manner that about one-third 
of its entire length covered the left 
side, and fell down in front of the 
wearer to the ground between the 
feet, as shown by the parts marked I. 
in both the front and back views of 
the annexed examples. The rest was 
passed behind the back, and tmder 
the right arm ; then turned down or 
doubled together at about the middle 




of its breadth, carried across the front 
of the body, and thrown over the left 
shoulder, so that it hung down to the 
heels, as shown by the back view in 
the illustration. The portion thus 
folded down produces a double sinus, 
as mentioned by Quintilian (/. e. 103.) ; 
one formed by the outer edge of the 
drapery folded over, which in the 
present example falls to the level of 
the knees (2.), in other statues reaches 
j still lower, so as to set a little above 
j the under edge of the drapery (ima 
I toga, 3.), which Quintilian considers 



670 



TOGA. 



TOG AT A. 



the most becoming [decentissimus) ; j 
the other produced by the double 
part of the fold (4), and procceeding, 
as above mentioned, from under the 
right arm to the top of the left 
shoulder, so as to present the appear- 
ance of a shoulder-belt {battens. Quint. 
/. c. ) ; but which, it is directed, should 
lie, as it here does, easily across the 
breast, and not to be drawn so straight 
and tight as in the earliest manner, 
exemplified by the third illustration 
to this article, nor yet so loose as the 
Greek style, exhibited by the fourth 
figure — nec strangle let, < nee fluat. 
(Quint. /. c, ) Lastly, as the end of 
that side which was first put over the 
left shoulder would have trailed upon 
the ground and impeded the motion i 
of the wearer (Suet. Cal. 35.), in con- 
sequence of the great length of the 
entire piece of drapery, a part of it 
was drawn up from underneath this 
belt or upper sinus (4.), and turned 
over it in a small round fold (5.), 
termed nmbo (Tertull. eie Pall. 5.), 
which thus kept it at a proper level. 
The illustration, presenting a front 
view, is from a statue of the Villa 
Pamfili ; the other, with the back 
turned, from a statue of the Villa 
Medici. 

Another method of adjusting the 
toga, termed CinctusGabinus, isex- 
plained and illustratedunder that term. 

2. Toga pr&texta. A toga orna- 
mented with a broad border of pur- 
ple, originally derived from the 
Etruscans, and worn with the bulla 
by freeborn children of both sexes, 
as well as the chief magistrates, dic- 
tators, consuls, praetors, and aadiles, 
the kings, and some priests, both at 
Rome and in the colonies. (Prop, 
iv. I. 131. Liv. xxxiv. 7. Festus 
s. v. Cic. Phil. ii. 43. Plin. H.N. ix. 
63. Eutrop. i. 17.) It differed in 
no other respect than the addition of 
the border (which would not be re- 
presented by sculptors) from the ex- 
amples above introduced, as is testi- 
fied by numerous statues still existing 
of young persons wearing the toga 



with the bulla round their necks 
(Bartoli, Sep. 27. Mus. Borb. vii. 49. 
Mus. Pio-Clem. iii. 24. Villa Bor- 
ghese v. 3. and 4. ) ; in all which, and 
many other instances, the prcetexta is 
adjusted in the same manner as ex- 
hibited by the two last figures. 

3. Toga para, or virilis. The com- 
mon toga usually worn by men, made 
of white wool, without ornament or 
colour. Cic. Att. v. 20. Id. Phil. ii. 18. 

4. Toga pictz. A toga ornamented 
with embroidery (aeu picta) ; origi- 
nally worn together with the tunica 



consul at his 
triumph ; but, 
under the Em- 
pire, by the 
consuls, and 
also by the 
praetors, when 
they celebrated 
the Circensian 
games; whence 
it is often to be 
seen on the 




consular diptychs of a late period, 
from one of which the annexed figure 
is copied, representing the consul in 
his character of president of the 
games, holding up a handkerchief 
{mappa) as a signal for the races to 
commence. Liv. x. 7. Lamprid. Alex. 
Sev. 40. 

5. Toga pahnata. Sometimes used 
in the same sense as toga picta (Mart, 
vii. 2. Serv. adVirg. s£u. xi. 334.); 
but the epithet pahnata is more com- 
monly given to the tunic worn under 
it. 

6. A wrapper for books. Mart, 
x. 93. Same as Membrana, 2. 

TOGA'TA. Literally, a woman 
clothed with the toga ; for in early 
times the Roman females wore the 
toga as well as the men (Varro, de 
Vit. P. K. ap. Non. s. v. p. 541.), as 
those of Greece also wore the pallium. 
But when the stola had been adopted 
as the distinguishing dress of the 
Roman matrons, the use of the toga 
amongst females was confined to 



TOGA TAR TVS. 



TOMACULUM. 67 1 



women of pleasure {meretrices), or to 
wives who had been divorced on the 
ground of adultery (Mart. ii. 39. Juv. 
ii. 70.) ; whence the term togata came 
to have the more usual signification 
of a prostitute (Hor. Sat. i. 2. 63.), or 
an adulteress (Mart. vi. 64. ). 

2. Togata fabula. A play in which 
the incidents and characters were 
selected from Roman life, and con- 
sequently represented by actors in the 
toga or national costume. Cic. Sext. 
55. Sen. Ep. 8. 

TOGATA'RIUS. An actor in a 
play representing events of Roman 
life, who consequently wore the toga, 
or national costume. Suet. Aug. 45. 

TOGA'TULUS. ' Diminutive of 
TOGATUS ; and indicative of a very 
poor or humble person, who wore a 
coarse, shabby, or scanty toga (togu- 
la). Mart. x. 74. 

TOGA'TUS. In a general sense, 
wearing the toga as described and 
illustrated under that word ; but as 
that article of attire formed the dis- 
tinguishing portion of the national 
costume, the word is often used in 
the special sense of a Roman, as 
opposed to pallialus, a Greek, whose 
national costume was the pallium. 
(Virg. JE11. i. 286. Cic. Rose. Am. 
46. Id. Phil. v. 5. Suet. Claud. 15.) 
And as the toga was a civic costume, 
for which the sagum or the paluda- 
mentum was substituted in times of 
war, or during active service in the 
army, the term is often applied 
specially, to designate a civilian, as 
contradistinguished from a military 
man. (Cic. Still. 30. Id. Or. i. 24.) 
Also, as the toga completed what we 
should call the full-dress costume of 
the people, which the lower classes 
only put on upon holidays, but laid 
aside when engaged in working, the 
term togatus is opposed to tunicatus, 
and implies that the person so de- 
scribed does not belong to the work- 
ing classes (Juv. iii. 127. i. 96. vii. 
142.), which constitutes the biting 
satire in the passages just cited. 

TOG'ULA. Diminutive of Toga ; 



] the diminutive sometimes denoting 
fineness of texture, and consequently 
increased value, as in Cicero (All. i. 
18.), where it is applied to the toga 

I picla ; at others, inferiority of size or 
material, as in Cic. Pis. 23. Mart. 

1 ix. 101., and consequently conveying 

J a sentiment of depreciation. 

TOLLE'NO (/ojA«v, -wvtiov). A 
swipe ; a very simple machine for 
raising water from a well, still com- 

1 monly used in many parts of Europe. 
It consists of a long pole, with a bucket 

j and rope at one of its ends, and aweight 
at the other, poised at the centre of 

; gravity across a strong upright ; or, 

j when of very great length, as in the 

1 annexed example, working on a per- 




manent structure made for the purpose. 
(Festus s. v. Plaut. Fragm. ap. Fest. s. 
Reciprocare. Plin. H. N. xix. 20. ) 
The illustration is from a Pompeian 
painting, which represents an Egyp- 
tian landscape. It shows the well, 
with the bucket {situld) suspended over 
it ; the beam is worked by two men, 
and has precisely the bent form de- 
scribed by Martial, ix. 19. antlia curva. 

2. A machine of similar construc- 
tion, used in military and naval ope- 
rations for raising up a body of men 
to a level with the enemy's ramparts, 
vvc. Liv. xxiv. 34. xxxviii. 5. Veg. 
Mil. iv. 21. 

TOMA'CINA {refi^ov). (Var- 
ro, R. R. ii. 4. 10. ) Same as 

T O M A' C U L U M. A minced 
meat pudding, or sort of sausage, 
made of the internal parts of a pig 
(Juv. x. 355.), or other animals, the 
brains, liver, &c, dressed upon the 
gridiron, and eaten hot (Pet. Sat. 31. 



672 TO ME NT U M. 



TONS US. 



II. ) ; on which account it was carried 
about the streets for sale in small tin 
ovens. (Mart. i. 42. 9. ). 

TOMEN'TUM [nvecpaWov). A 
flock of wool torn off in fulling cloth, 
and employed as wadding for stuffing 
cushions, bolsters, mattresses, &c. ; 
whence the word came to designate 
the stuffing itself, even without refer- 
ence to the materials of which it was 
composed, whether wool, feathers, 
straw, chopped sedge, or tow, all of 
which were employed for the purpose. 
Plin. H. A r . viii. 73. Mart. xiv. 159, 
160, 161, 162. Senec. V.B. 25. Suet. 
Tib. 54. 

TO'MIX or, THO'MIX (0»/u|). 
A rope made of tow, rush, or the 
fibrous parts of the Spanish broom. 
Vitruv. vii. 3. 2. Columell. xii. 32. 

T O N S A. An oar ; a term em- 
ployed by the poets, and mostly in 
the plural number. Ennius ap. Fest. 
s. v. Virg. Lucan. Sil. Ital. 

TONSILLA. A boat-pick; a 
wooden pole sharpened at the end 
and shod with iron, which was stuck 
into the ground in order to fasten the 
boat to the shore, or to bring it up in 
shallow water. Verrius, Pacuvius, and 
Accius ap. Fest. s. v. 

TON'SOR (Kovpeus). A barber ; 
whose occupation amongst the Ro- 
mans as well as Greeks consisted in 
cutting and dressing the hair, shaving 
the beard, paring the nails, and pull- 
ing out stray hairs with the tweezers 
{vohclliz. Mart. viii. 47. Ylzwi. Aid. ii. 
4. 33. Juv. vi. 25. Theophrast. Char. 
xxvi. Alciphr. Ep. iii. 66). Wealthy 
persons kept a barber in their own 
houses amongst their slaves ; but the 
people at large had recourse to the 
barber's shop [tonstrina) ; for the Ro- 
man rarely shaved himself, at least 
after the year B.C. 454, when the first 
barber was introduced from Sicily ; 
and previously to that period the hair 
and beard were worn long. Plin. 
H.. N. vii. 59. 

TONSTRI'CULA. Cic. Tusc. 
v. 20. Diminutive of TONSTRIX. 

TONSTRI'N A {xovpelov ). A 



! barber's shop (Plin. H. N. xxxvi. 
47. ) ; a favourite place of resort both 
amongst the Greeks and Romans, 

I where the customers congregated to 

! gossip over the news of the day. 
Plaut. Ep. ii. 2. 16. Id. As. ii. 2. 76. 
Polyb. iii. 20. 5, 

TONSTRIX {Kovpeirpia). A 

j female who practised the trade of a 
barber ; which appears from numerous 
inscriptions and other passages, not 
to have been an uncommon employ- 

j ment for women amongst the ancients. 

j Plaut. True. ii. 4. 54. iv. 2. 63. iv. 4. 

' 3. Mart. ii. 17. Inscriptt. ap. Grut. 

j ap. Fabretti. 

TONSUS (Kovpi/j.os). Cropped or 

I clipped, with reference to the hair of the 
head or beard (Mart. vi. 64. xi. 39.) ; 
and indicating that the natural growth 
was merely shortened by cutting 
with the scissors {forfex) as contradis- 

j tinguished fiom rasus, which means 
shaved close with a 
x%zox{nov acuta). The 
Greeks wore their 
hair cut close in 
grief and mourning, 

j both women, as re- 

| presented by the 
annexed figui 

j Electra from 

j tile vase, and men, 
as exemplified by the 

j figure of Agamem- 

j non introduced s. d 
Catagrapha ; but the Romans let 

j their hair and beard grow under simi- 

1 lar circumstances, until the danger or 

I distress had passed, when they had 

I the superfluous length cut off ; whence 
the expression tonsus reus (Mart. ii. 
74. ), applied to a criminal, is equiva- 
lent to acquitted. In other respects, 
the free Roman of the republican 
and imperial period, wore his hair of 
a moderate length, not close cut, with 

I the exception of the rural population 
(Mart. x. 98.), which is obliged to 
study convenience more than appear- 
ance ; hence the term tonsus often 
means rustic, or countrified, especialty 

j when applied to the slaves who waited 



y the h 

"a «c! I 




TOPI A. TORCULAR. 673 



at table (Mart. xi. 12.), because it I 
was usual for people of fashion to ! 
have their waiters extremely well 
dressed, and set off with long flowing 
hair (wood-cuts s. Acersecomes and 
Pincerna), though some conceited 
or effeminate youths, and women of 
easy virtue, also affected to wear a 
crop. Suet. Aug. 45. Nero, 44. 
Cic. Pis. 8. 

TOP'IA. Landscape paintings ; ! 
introduced in later times as a decora- , 
tion for the walls of a dwelling-room, 
and consisting of imaginary views of 
country scenery, ports, temples, &c., 
&c. ( Vitruv. vii. 5. 2. ) Many of 
these topia have been found in the 
houses at Pompeii, agreeing perfectly 
with the description of Vitruvius ; 




being for the most part fanciful com- 
positions, with little of nature in them, j 
but free in the handling, and not 
unpleasing to the eye. A. specimen ' 
is introduced in order to afford an 
idea of the usual style exhibited in 
this branch of art amongst the an- 
cients. 

TOPIA'RIUS. A fancy gardener; 
a slave whose particular province it 
was to attend to the opus topiarium 
(Cic. Q. Fr. iii. I. 2. Plin. H.N. xv. 
39. ), which comprised the culture and 
training of trees and shrubs, the de- 
coration of arbours and bowers, and 
the forming of evergreens by pruning 
and clipping into a variety of incon- 
gruous and fanciful shapes, represent- 
ing birds, beasts, &c, like those so 
prevalent in the Dutch gardens of the 
last century. Cic. Par. v. 2. Plin. 
Ep. iii. 19. 3. 

TOR'ALandTORA'LE. A 



valance, attached in front to the lower 
part of a dining couch, between the 
mattress {torus) and the floor (Varro, 
L.L. vi. 167. Pet. Sat. 40. 1. Hor. 
Ep. i. 5. 22.), as in the annexed ex- 
ample from a painting discovered at 
Resina , thus contradistinguished from 
the stragulum and peristroma, which 
were laid, like a sheet, entirely over 
the mattress, for the occupant to re- 
pose upon, as shown by the illustra- 
tion to the last of those words. It was 
usually composed of white drapery, or 
at least of some washing material for 
the sake of cleanliness (Hor. Sat. ii. 4. 
84. ) ; but gold tissue or embroidery is 
mentioned (Lamprid. Elag. 19.) ; and 
the ridiculous Trimalchio has a va- 




lance, with a hunting scene em- 
broidered upon it, brought in and 
fastened under the mattresses, upon 
which guests were actually reposing 
at dinner, just before a wild-boar was 
served up. Pet. /. c. 

TOR'CULAR and -UM (\ W 6s). 
A press employed in the manufacture 
of oil and wine (Vitruv. vi. 6. 3. 
Plin. H. N~. xviii. 74. Varro, ap. Non. 
s. v. p. 47.) ; the object of which was 
to extract by violent pressure all the 
juice remaining in the skins and 
stalks of the grapes (pes vinaceoruvi) 
after they had been trodden out by 
the feet, or the oil from the olive 
pulps (samsa) after they had been 
bruised in the mill [trapetum, mold). 

The earliest contrivance employed 
for this purpose was of a very simple 
2 U 



674 



TORCULAR. 



description ; consisting merely of a I 
heavy block of stone, raised up by j 
the aid of a lever beam, under which j 
block the bunches of grapes enclosed 
in a basket {fisciua, Columell. xii. 
39. 3.), or between laths {regulce, Id. 
xii. 52. 10. ), to prevent the mass from j 
bulging out at the sides, were placed, ' 



as represented by the annexed illus- 
tration, from a Greek bas-relief of 
the Neapolitan Museum. The two 
figures on the left steady the stone, 
whilst the three at the opposite ex- 
tremity of the lever are occupied in 
raising it up to give room for placing 
the basket of grapes underneath it. 




It is probable, that after the stone 
had been lowered on to the fruit, the 
lever was removed to over the top, 
and made to perform the duties of a 
press-beam {prelum), by fixing one 
end in a socket, so that the pressmen 
at the opposite end could increase the 
natural weight of the stone by forcing 
the beam upon it. 

The next change produced a regular 
machine, described in detail by Cato 
{R. R. 18.), which operated by the 
pressure of a beam {prelum), drawn 
down upon the object to be squeezed 
by means of ropes attached to one 
end of the beam, and worked by a 
capstan {sucula, Plin. H. N. xviii. 
74.). Very considerable vestiges of 
one of these presses have been disco- 
vered in an ancient press-room at 
Gragnano (formerly Stabice), after 
which the annexed diagram is de- 
signed, with the object of explaining 
the character of the machine, the 
parts of which it was composed, and 
the nomenclature attached to them. 
1, I. Two strong uprights or trunks 
{arbores), firmly planted and wedged 
into sockets constructed under the 
flooring of the press-room (see the 



wood-cut,.?. Torcularium,No.4. z'.), 
which served to hold down the 
tongue {lingula, 2.) of the press-beam 
{prelu??i, 3.), and form a point of re- 
sistance when it was in operation. 




As the entire stress consequent upon 
tuc upward action of the press-beam 
came against this part of the appara- 
tus, when its opposite extremity was 
forced down, Cato recommends that 
two trunks should be used, as being 
more solid, and less likely to be 
forced out of their sockets than a 
single one would be ; consequently, 
two are represented in the plan ; but 
in the example at Gragnano, only 
one was employed, and that had an 
eye {foramen) cut in it, to receive 
the tongue of the beam. 4, 4. Two 
posts {stipites), also planted in sockets 
of a similar kind under the flooring 
(see the wood-cut, s. Torcularium, 
No. 3., g, h), which held the ends 



TORCULAR. 



675 



of the capstan [sucula, 5, 5) that 
worked down the beam. The heads 
of these posts were tied together by a 
cross-beam at the top, on which was 
fixed a pulley, with a cord running 
through it from the end of the 
press-beam ; by means of which the 
beam was raised, to make room for 
the baskets of fruit or pulp, when 
placed underneath it, upon the bed 
{area, 6.), where they were squeezed. 
The method of working it is easily 
understood. When the grapes or 
olives had been trodden out by the 
feet or bruised in the mill, the re- 
sidue was put into a basket and 
placed on the area. Over them was 
then laid a very strong flat board 
{orbis olearhis, Cato, R. R. 18.), in 
order to equalize the pressure upon 
all parts of the surface. The long 
end of the press-beam was then 
lowered from above on to the orbis, 
and there strained down by the cap- 
stan until all the juice had been 
squeezed out. 

Another kind of wine-press, of 
undoubted authority, although not 
actually described by any of the 
writers now extant, is represented 
by the annexed illustration, from a 
painting at Her- 
culaneum. It 
consists of two 
uprights firmly 
fixed in the 
ground, and 
strengthened by 
a cross-beam at 
the top, and an- 
other at the bot- 
tom which served as an area upon 
which the basket of fruit was placed. 
Over this there are a number of solid 
boards {tympana, Plin. H. N. xviii. 
74.), which perform the office of a 
press-beam, having their heads fitted 
into perpendicular channels running 
down each side of the uprights, and 
being forced down upon the mass of 
grapes by means of large blocks, 
driven in as wedges between them 
by blows of a mallet. 



JUL 




Presses like the two described con- 
tinued in common use amongst the 
Romans, until within a century of the 
age of Pliny, when a simple improve- 
ment was first introduced, of working 
the beam down by means of a screw 
{coehlea) instead of the capstan or 
wedges (Plin. H. N. xviii. 74.) ; 
but this eventually led to a great 
change during his lifetime, which 
very materially altered the form and 
character of the original machine. 
The great length of a lever press- 
beam was very inconvenient, as it 
required so large a building for the 
room where it was worked, and the 
last machine is but a clumsy con- 
trivance. But a remedy was found by 
the invention of the 
screw-press, with a ^ — ' — 1 — ^ 
mast {mahts) for the 
male screw placed 
in its centre, as |rj 
shown by the an- ' ' 
nexed illustration, 
i from a painting at ^_ 

Pompeii ; in which 
j solid boards {tympana), instead of 
' the long beam, are placed over the 
' mass, and screwed down upon it ; so 
that the machine is much smaller, 
though equally powerful, and re- 
j quires less room. (Plin. /. c.) The 
illustration, in reality, is intended for 
a clothes-press {pressorinm) ; but as 
the constructive principle is the same, 
it will equally serve to illustrate the 
present subject. 

2. {K-nvos.) (Plin. H. N. xviii. 
62. Columell. xi. 2. 71.) In these 
passages, which speak of washing and 
cleaning the torciilum, the word is 
generally taken to mean a vat in 
which the grapes were crushed by 
the feet ; but there is no substantial 
reason for the distinction, since the 
old lever-press was composed of 
several pieces, which were put toge- 
ther, or set up, at the time of the 
vintage and oil-making, and after- 
wards taken down and stowed out of 
the way, to leave the room they occu- 
pied at liberty for other purposes 



676 



TORCULARIUM. 



(Yarro, ap. Xon. s. v. vineis ubi 1 
ampla cella toraihim reponant). Pliny 
and Columella only enjoin the neces- 
sity of cleaning and washing these 
parts before they were put by. 

3. (Vitrav. vi. 6. 2.) The press- I 
room, or building in which the torcu- 
lar was worked. Same as 

TORCULA'RIUM (Ar^e^). A j 
press-room : which comprises the 
whole fabric where oil is made, and 
in which the mill, presses, reservoirs, ! 
and vessels used in the process, were I 
set up or contained. (Cato, R. R. j 
xii. xiii. xviii. Columell. xii. 18. 3.) | 
The same name was also given to 

No. 



the building in which the wine-press 
was placed, though that is otherwise 
designated by a special term of its 
own (vinarium) ; but it was con- 
structed upon the same general plan, 
and contained similar machinery and 
conveniences to those employed in 
the manufacture of oil, differing only 
in some minor details, adapted for the 
different nature of the article to be 
produced. This may be collected in 
part from the passages of Cato and 
Columella where such structures are 
described ; but it is fully confirmed 
by an excavation made on the site of 
the ancient Stabiae, during the latter 




Tr5~ 

i s 



P. 



km 



No. 2. 




part of the last century, which ex- a general principle, closelvcorrespond- 
posed to view several different press- ing one with the other. 'The illustra- 
rooms, some for wine, and others for tion annexed exhibits the ground- 
oil, all of which were arranged upon I plan of one of these buildings, used 



TOR C ULARIUM. 



TORE I'M A. 



677 



for making oil, with a section of 
its underground appurtenances, the 
whole agreeing in most of the essen- 
tial features with the particulars de- 
scribed by Cato ; and thus, whilst it 
materially assists a correct under- 
standing of that author, will convey a 
complete idea of the method and pro- 
cess adopted by the Romans in the 
manufacture of this important article 
of their agricultural produce. Xo. 1. 
represents the ground-floor of the 
room, which has an open gangway 
completely through it, and contains 
one mill for bruising the fruit to a 
pair of presses, one mill being amply 
sufhcient for supplying two presses, 
as the process of bruising is effected 
with much greater celerity than that 
of squeezing. No. 2. is a section of 
the same, on the line A B. Xo. 3. a 
section of one side, on the line c D. 
Xo. 4. a section of the same side, on 
the line E F. The same letters refer 
to the same objects on all the four. 
G is the bruising machine {trapetum), 
a full description and view of which 
is given under that word. H, H. Each 
a large basin (possibly termed forum, 
viro\r\viov), constructed in the fabric, 
and enclosed on the side where there 
is no wall by a raised margin <a. a). 
The floors of these basins incline 
towards the points b,b, at each of 
which there is a leaden conduit open- 
ing respectively into two large earth- 
enware iars ice), partly sunk below 
the level of the floor (Xo. 2.), and 
partly raised above it (X~o. 3. ). By 
the side of each jar there is a low 
pedestal ( f, f), raised as high as the 
lip of the jar, but inclined towards it, 
and covered at the top with a tile 
formed with raised edges. On the 
opposite side of the room are a double 
set of three square holes (g, h, i), sunk 
in the fabric to a considerable depth 
below the level of the floor (Xos. 3. 
and 4.), which were intended as 
sockets for receiving the masts and 
uprights of the press {torcular) ; the 
one at i for the trunk {arbor}, in 
which the tongue {linguld) of the 



press beam {prelum) was fixed ; the 
, other two (g, //) for the posts {stipites) 
of the capstan (sucula), by which the 
I beam was worked down, as explained 
by the text and wood -cut at p. 674. 
I As the whole stress of the machinery 
j fell upon these trunks and posts, 
1 which rendered them liable to be 
j forced out of their sockets, when the 
- beam w T as pressed down, they were 
! made fast under the flooring by cross- 
1 pieces or foot-bolts {pediciui, Cato, 
j R.R. xviii. 3.), for the reception of 
which a small chamber (kk, Xos. 3, 
and 4.) is formed under them, with a 
I staircase (/,/,/, Nos. I. and 4.). for 
j the workmen to descend into it. The 
! mode of operating, and the use of the 
different parts, may now be easily 
I conceived. The wide gangway in 
centre was intended for the beasts and 
j labourers to bring in the olives, which 
were placed in the trapetum (g), and 
j bruised. The pulp was then put into 
I baskets, and transferred to the presses 
{i.^g,h), which squeezed out the juice 
j into the basins (hh), from which it 
I flowed alongthe slopingpavement, and 
1 through the leaden conduit, into the 
■ large jars (c, c), whence it was ladled 
out by the capndator, and finally re- 
I moved into the storehouse or cellar 
j {cella olearia). The small pedestal. 
I with its inclined tile at top {f. Xo. 3.), 
by the side of the large jar {c), was 
j intended to rest another vessel upon, 
! whilst it was being filled out of the 
larger one; and the raised edges, as 
i well as the inclination given to the 
j tile, was to prevent waste, as all the 
I spillings or drippings would thus flow 
1 back into the large jar. 

TORCULA'RIUS, as an adjec- 
| tive, is applied generally to any one 
\ of the instruments, vessels, &c., em- 
| ployed in or about a wine or oil press 
and press-room (Varro, R. R. i. 22. 
Columell. i. 6.) ; but, absolutely, the 
torcularii are the labourers who 
worked the press (Columell. xii. 52. 
! 3.), as seen in the first illustration s. 

TORCULAR. 

TOREU'MA (r6pevna). Probably, 



678 



TORMENTUM. 



TORQUA TUS. 



an ivory carving, executed by a sharp- 
pointed instrument (avium, tornus), 
worked by a lathe or wheel ; though 
it must be confessed, that much dif- 
ference exists respecting the accurate 
meaning of the word. It is derived, 
without doubt, from the Greek to- 
pevca, to bore ; which is often applied 
in the same sense as ropveva), to turn, 
or work with a lathe ; and as both 
the Greek and Latin languages supply 
distinct terms for the various pro- 
cesses of carving, casting, chasing, 
engraving in intaglio, inlaying, beat- 
ing out, and into moulds, as well as 
every other style now known or 
practised, except that of working by 
the point and wheel, which operates 
upon the principle of boring, it does 
seem reasonable to believe that the 
term was employed to designate a 
class of works executed in the man- 
ner described, whether in ivory, very 
hard stone, or silver. One thing 
quite certain is, that the toreuma was 
regarded as a highly choice and 
valuable production (Cic. Pis. 27. 
Sail. Cat. 21.) ; and that it is gene- 
rally referred to small objects, mostly 
articles of use, employed as drinking 
vessels (Suet. Jul. 47. Cic. Verr. ii. 
4. 18.), and ornamented with figures 
or other devices in relief. (Mart. x. 
87.) The same term is also given to 
a drinking-cup of fictile manufacture 
(luteum rotce toreuma, Mart. iv. 46. 
Compare xiv. 102. ); where the name 
toreuma can only acquire its meaning 
from the turning of a potter's wheel. 

TORMEN'TUM. A general 
term for any kind of military engine 
which discharged missiles (Cic. Cass. 
Liv. ) by an impetus produced through 
the means of any elastic and twisted 
substance (from torquendo) ; including, 
therefore, the specific denominations 
Balltsta, Catapulta, Scorpio, and 
others enumerated in the Classed 
Index. 

2. (arpe^\o3Ti]piov). Also, a gene- 
ral term for an instrument of tor- 
ture (Plin. H. N. xxxiv. 19. § 32. 
Curt. vi. 11.) ; no doubt, because the 



rack was one of the commonest and 
earliest in use. 

3. (vwoCcD/jLa). A strong cable girt 
round the hull of a ship from stem to 
stern, for the purpose of strengthen- 
ing her timbers in heavy weather 
(Isidor. Orig. xix. 4. 4.) ; to which 
Horace certainly seems to allude, and 
not to the cable of an anchor, when 
he says sine funibus Vix durare carina 
Possunt imperiosius sEquor. ( Carm. 
i. 14. 6. ). A number of these were 
kept in the arsenal, taken on board 
when a vessel was ordered out to 
sea, and put on as occasion required. 

TORNUS (taVos). A lathe, or 
turner's wheel (Virg. Georg. ii. 449. 
Plin. H. N. vii. 57) ; also, a sharp- 
pointed carving or graving-tool, 
turned by a lathe. Virg. Eel. hi. 38. 

TORQUA'TUS {<rrp^ro<p6 P os). 
Wearing a twisted collar (torquis) 
round the neck, as was customary 
with the Gauls (see the wood-cut s. 
Comatus), the Persians, and other 
races, in the manner shown by the 
annexed figure, representing one of 

/ * 




the Persian soldiers in the famous 
mosaic of Pompeii. Hence, miles 
torquatus amongst the Romans is a 
soldier who had been presented with 
an ornament of this description as a 
reward of valour (Veg. Mil. ii. 7. 
Compare Plin. H.N. xxxiii. 10.); 
which he did not wear round his 
neck, like the Orientals, but affixed 
to his breast in the same manner as a 
modern decoration. This is clearly 
demonstrated by the following exam- 



TORQUIS. 



TOR UL US. 



6 79 



pie, which exhibits the portrait of a 
centurion on a sepulchral bas-relief, 
who wears the following decorations ; 
—a lemniscus streaming from the back 




of the head, two torques on his breast, 
and a phalera showing under them. 

TORQUIS and TORQUES {<rrpe- 
ttt6s). A circular ornament, made 




with a number of gold threads 
twisted spirally together, and worn 
as a collar or neck-chain by the 
Gauls, Persians, and other races of 
the north and east. (Isidor. Orig. 
xix. 31. 11. Cic. Off. hi. 21.) The 
illustration is from an original, and 
fastens itself by two bent ends, which 
clasp into one another, the torquis 
unca of Propert. iv. 10. 44. 

2. Torquis brachialis. (Vopisc. 
Aurel. 7.) An ornament made of 




twisted gold, in the same manner as 



I the last example, but forming many 
j spiral coils instead of a single circle, 
and worn round the lower part of the 
arm (brae/mim), between the wrist 
I and elbow, instead of on the neck. 
The illustration is from an original. 
3. A coupling collar, made of 




twisted rope, passed round the necks 
of a pair of oxen (Virg. Georg. iii. 
168.), when they were not attached 
by a yoke {juguui), as in the annexed 
example, from a marble bas-relief. 

4. Poetically, for a wreath of 
flowers twined round an altar. Virg. 
Georg. iv. 276. 

TOR'TOR (Paaavio-T-hs). One 
who inflicts the torture. Cic. Phil. 
xi. 3. Sen. Ep. 14. 

TOR'ULUS. Diminutive of 
Torus ; but specially used to desig- 
nate a sort of fillet twined round the 
head {torulo capiti circumflexo, Am- 
mian. xix. I. 31.), and presenting 
full or swelling contours, like those 




produced by the stuffing in a mattress 
(Varro, L. L.x. 167. Torus, 2.); or 
the strands of a rope (Torus, 1.) ; 
or the protuberances of a festoon or 
chaplet between its ties (Torus, 4.); 
as represented by the annexed ex- 
ample from a Pompeian painting. It 
was also worn by women (Varro, I.e.), 
and in the Amphitryo of Plautus, 
Jupiter is furnished with a torulus of 



68o 



TOR US. 



TRABS. 



gold twist (Amph. Prol. 144. ), which 
he wore under his hat {petasus), in 
order that he might be distinguished 
from Amphitryon when he uncovered 
his head. 

TOR'US. Any full and swelling 
protuberance, like the convexity of a 
muscle (Cic. Tusc. ii. 9.), of an over- 
charged vein (Cels. vii. 18.) ; or the 
strand of a rope (Cato, R. R. 135. 4. 
Columell. xi. 3. 6. ) ; whence the fol- 
lowing more special applications ac- 
quire their meaning. 

2. A mattress or stuffed bed for 
lying and sleeping upon (Plin. H. N. 
viii. 73. Ov. Fast. ii. 795. ) ; so termed 
from the swelling undulations pro- 
duced in it by the stitches of the 




quilting, as represented by the ex- 
ample, which is copied from a marble 
bas-relief. 

3. In architecture, a swelling mould- 
ing, similar in form to the astragal, 
but of larger dimensions, which was 
employed in the bases of columns, 
where it presents the appearance of a 




swollen vein, or of a round cushion 
swelling out from the superincumbent 
weight. When more than one torus 
was applied, as in the annexed ex- 
ample of an Attic base, a hollow 
moulding or scotiawas placed between 
them, the upper and lower one being 
distinguished from each other by the 
respective names of torus superior 
and inferior. Vitruv. iv. 7. 3. iii. 5. 2. 
4. A swelling protuberance in the 



circle of a festoon (sertum) or of a 
chaplet {corona), produced by ribands 
tied round it at intervals, which break 
up the even outline into a number of 




j separate and undulating parts, as 
J shown by the annexed example from 
a marble bas-relief. Hence Cicero 
applies the term figuratively to cer- 
tain oratorical ornaments in speaking, 
which interrupt and diversify the even 
tenor of a discourse. Cic Or. 6. 

TRAB'EA. A toga, either en- 
tirely of purple, or ornamented with 
one or more horizontal stripes of that 
colour ; the former forming the sacred 
drapery of a deity, the latter a royal 
robe, adopted by Romulus and the 
early kings, from whom it descended 
to the consuls, who wore it upon cer- 
tain public solemnities, and to the 
I equites or knights, who wore it at 
! their review before the Censor. (Serv. 
j adVirg. Ain. vi. 612. Plin. H. N. 

viii. 74. Val. Max. ii. 2. 9.) The 
; method of adjusting it was the same 
as that described under the article 
Toga ; more especially as regards 
the earliest styles, when the drapery 
was less profuse in its folds and dimen- 
sions, whence it is distinguished by the 
epithet parva. Virg. yFn. vii. 187. 

TRABEA'TUS. Clothed in the 
trabea. Val. Max. ii. 2. 9. Ov. Fast. 
i- 37- 

TRABEC'ULA. (Cato, R. R. 
viii. 5.) Diminutive of 

TRABS (rpciTrT?!). Generally, any 
large wooden beam, such as the rib 
of a ship, the beam of a battering- 
ram, &c. ; whence, in a more special 
sense, by architects, a wooden archi- 
trave, or large beam laid horizontally 
on a row of columns in order to form 



TRACT A TOR. 



TRAMA. 



68l 



a continuous bed for the other timbers 
of the roof to rest upon (Vitruv. iv. 
2. I.), like that marked A in the an- 
nexed plan. In the Etruscan temples 




and other edifices where the space 
between column and column exceeded 
the width of three and a half diame- 
ters, the architrave was always of 
timber, even though the rest of the 
building was constructed in masonry, 
because stone or marble would not 
support a superincumbent weight 
over a void of such extent ; but 
when the intercolumniation was not 
so great, the architrave was made of 
the same materials as the other parts 
of the structure, and is then more 
usually styled epistylium, forming the 
lowest of the three principal members 
into which the entablature of an order 
is divided on its exterior. 

TRACTA'TOR. A shampooer; a 
slave whose business it was to mani- 
pulate the body and supple the joints 
after the bath, as still commonly 
practised in the East. Sen. Ep. 66. 

TRACT' ATRIX. A female slave, 
who performed the same office as the 
tractator. Mart. iii. 82. 

TRACTUM and TRACTA 
{icdray/uLa). A flock of wool drawn 
out by the process of combing or 
carding. Varro ap. Non. s. v. p. 228. 
Tibull. i. 6. 80. 

2. (kayavov. ) A flake of dough 
pulled out like a flock of wool in the 
process of kneading. Ca^o, R. R. 76. 
I. PI in. H. N. xviii. 27. Athen. 
xiv. 57. 

TRA'GULA. A sort of missile 
discharged by machinery, but of 
which the distinctive peculiarities are 
not ascertained. Varro, L. Z. v. 115. 
Festus s. v. Lucil. Liv. Cass. Sail. 

2. A drag net, or trolling-net, 



furnished with corks to float its upper 
edge. Plin. H. N. xvi. 13. 

3. (Varro, Z. Z. v. 139.) Same 
as Traha. 

TRAGULA'RII. A class of 
soldiers whose duty it was to place 
and level the missiles, termed tra- 
gidce, to be discharged from a military 
engine. Veg. Mil. ii. 15. 

TRAHA, or TRAHEA. A drag 
without wheels, employed by the 
ancients in 

t h r e s hing ; ~7 = 7 / 

for which --^ rj^y^lh^fj E* 
purpose it — °— 1. _ — 
was sometimes drawn behind the iri- 
btda, to complete what had been 
left imperfectly threshed. (Columell. 
ii. 21. 4. Virg. Georg. 1. 164.) The 
example is from an Egyptian tomb 

TRA'MA. Originally and accu- 
rately, this word seems to have indi- 
cated the threads of a warp when 
opened into a shed, or decussated by 
the leashes {licia), as seen in the 
centre of the annexed illustration, 




and thus opposed to stamen, which 
signifies the warp before the leashes 
are put on, and while all its yarns 
hung straight and close upon the 
loom, as represented by the wood-cut 
under that word (Sen. Ep. 90. 
Schneider. Index. R. R. Script, s. Te- 
la. ) Hence it is applied to the open 
work of a spider's web (Plin. PI. A'. 
xi. 28.), and to a very lean person 
(Pers. vi. 73.), as if to imply that one 
might see through his skin and bones, 
as through the shed of a warp. But 



682 



TRAMES. 



TRA PET 1731. 



latterly, or at least in the language of 
the common peoole, the term trama 
was confounded with subtemen (Serv. 
ad Virg. JEii. iii. 43. Isidor. Orig. 
xix. 29. 7.), in which sense it is re- 
tained to this day by the Aveavers of 
Italy, who call the woof " la trama.''' 
TRA'MES. A crosspath, forming 
a byeway or short cut, by which per- 
sons can move from one place to 
another without being exposed to 
public observation. Varro, L. L. vii. 
62. Cic. Phil. xiii. 9. Sail. Cat. 59. 

TRANSEN'NA. A trap for 
snaring birds, constructed upon a 
principle very similar to that of our 
"man-trap." It was formed of net- 
work strained 
upon a frame 




111 two 
pieces at- 
tached to a common axis, extended 
between them. When the trap was 
set, the two flaps lay flat out upon the 
ground ; but the moment the bird 
alighted upon the bait, which was 
placed upon the cross-bar in the 
centre, its weight slipped the spring, 
and the two sides closed together 
and secured the bird. (Plaut. Bacch. 
iv. 5. 22. Pud. iv. 7. 10. and 13. 
Compare also Pers. iv. 3. 13.) The 
illustration represents an Egyptian 
trap of the kind described from paint- 
ings at Beni-Hassan; on the left side, 
open, and set; on the right after it 
has closed with the bird caught in it ; 
the network only has been restored 
to the right figure, from which it had 
faded in the original. 

2. A lattice of cross-bars before a 
window, or other aperture, as in the 
illustration s. Prothyrum ; hence, 
quasi per transennam adspicere (Cic. 
Orat. i. 35.), "to look in a cursory 
or imperfect manner, as if through a 
lattice." 

3. A rope extended across any 
place or opening from side to side 
( Serv. ad Vrg. ALn. v. 488. Isidor. 
Orig. xix. ii. 24. Sail. ap. Non. s. v. 
p. 180. ) ; such, for example, as was 



stretched across the race-course for 
the purpose of compelling all the 
horses to start together (Linea, 4. ) ; 
! whence the expression e transenna 
I (Ammian. xxv. 6. 14.), "all toge- 
j ther." 

TRANS TILLUM. (Vitruv. v. 
\ 12.) Diminutive of 

TRANSTRUM. In a general 
sense, any beam or plank laid hori- 
j zontally over a void from wall to 
wall, to support a weight above, sus- 
pend other objects from, or as a tie- 
; beam for strengthening the side 
rafters of a timber roof, when the 
1 space covered by it is of large dimen- 
j sions. Festus s. v. Plin. H. N. 
I xxxiv. 32. Vitruv. iv. 2. 1. 

3. Transtra, plural (to rreA/taTa). 
I The cross-benches upon which the 
rowers sat in large vessels where 
more than one man was employed at 
the same oar, stretching from the 
ribs of the vessel to another support 
I within her waist, so that the requisite 
number could be accommodated on 
the same bench ; but their length, 
; position, and exact arrangement can- 
! not be ascertained, with any pretence 
to authority, for no sufficient testi- 
mony remains, either of authors or 
I artists, , to illustrate the internal con- 
i struction of the ancient ships. Festus 
s. z: Virg. AL11. iv. 573. 

TRAPE'TUM, TRAPE'TUS, or 
j TRAP'ES. An olive mill ; or ma- 
chine for bruising the fleshy part of 
the olive, and separating it from the 
stone (Virg. Georg. ii. 519. Varro, 
L. L. v. 138.), before it was submit - 
1 ted to the action of the press [torcu- 
lar). A machine of this kind is de- 
scribed at length by Cato [P. P. xx. 
j — xxii. and cxxxv.). and an ancient 
j original has been discovered at Gra- 
| gnano (formerly Stadicz), so closely 
I resembling that description as to 
i leave no question respecting its name 
and use. A drawing of this is inserted 
in the next page, both in elevation and 
section, with the different members 
properly put together, which were 
found partly in fragments, and partly 



TRAPETUM. 



TRAPEZITA. 683 



entire, upon the spot. The names 
ascribed to each are in accordance 
with the nomenclature of Cato, and 
the same references apply to the 
similar parts in the elevation and the 




section. The lower member forms a 
circular basin (moriarium, 1), of hard 
volcanic stone, the sides of which 
were termed labra. (Cato, cxxxv. 
6, 7. ) From the centre of the basin 
there rises a thick short column 
{miliarium, 2), serving to support the 
axles of the bruising-wheels {orbes, 
3, 3), which are flat on the inside, 
and convex without. On the top of 
the column is placed an oblong square 
wooden box or nave {cupa, 5), which 
received at each end one of the two 
poles (6, 6), passing through the 
wheels as an axle, and affording a 
handle to turn them by, while at the 
same time it kept the inner surfaces 
of the wheels at a fixed distance 
from the sides of the miliarium, so as 
to prevent them from rubbing against 
it, when in action. The nave is 
fixed on to the top of the column by 
a strong iron pivot {columella ferrea, 
4), round which it turned with the 
wheels, having a pin (fistula ferrea) 
run through its head, to prevent the 
whole apparatus from being forced 
upwards, if the wheels should meet 
with any serious obstruction under- 
neath. Upon the poles, just outside 
the wheels, is fixed a cap (armilla, 8. 
8), riveted by a nail {c lav us) run 
through it, the object of which was 
to prevent the wheels from swaying 
under the influence of any lateral 
obstruction, which might cause them 
to grind against the labra, or concave 
sides of the basin. The under part of 
the nave was also covered with an 



iron plate {tabella ferrea), to prevent 
friction. The manner in which the 
machine acted may now be easily 
understood. Two men, one at each 
end of the long poles (6, 6) on which 
a wheel is fixed, pushed the pair simul- 
taneously round the sides ot the basin, 
previously supplied with a sufficient 
quantity of olive-berries. Whilst 
thus driven in a circuit, the resist- 
ance produced by the fruit compelled 
the wheels at the same time to re- 
volve upon the poles by which they 
were driven, as upon their own 
axles. This action had the effect of 
bruising the skins and flesh without 
crushing the stones ; for it will not 
fail to be observed that the wheels 
are suspended in such a manner as 
to work entirely clear of the basin, 
without touching any part of it, both 
on their flat sides against the central 
column (2), and on their convex sur- 
faces towards the lips of the basin, as 
well as at their circumferences. It 
was, in fact, to procure this gentle, 
equable, and regular action, that so 
much care and attention was required 
in constructing and putting together 
the machine, and all the individual 
parts are designed for the sole pur- 
pose of keeping the wheels exactly 
set at a proper distance from the 
surfaces of the basin ; for if the 
stones were crushed with the skins, 
the flavour and quality of the oil 
would be deteriorated. Columell. 
xii. 52. 6. 

It might be inferred that the tra- 
petum was originally employed for 
crushing grapes, as the term seems 
to be derived from the Greek rpairew, 
"to tread grapes," whence come 
TpairriTos and T^cnrTjTTjs. But there is 
no passage extant which speaks of its 
use at the vintage ; so that it would, 
perhaps, be more correctly referred 
to the Ionic form, rpdna) for rpimo % 
"to turn round," whence comes the 
verbal adjective rpain]riov. 

TRAPEZTTA {rpmnOfn^). A 
money changer (Plaut. Capt. i. 2. 
84. ) ; ' merely a Greek word Latin- 



684 TRAPEZOPHORUM. 



TRIBON. 



ized, for which the Romans use 
Mensarius. 

TRAPEZOPH'ORUM (rpaireCo- 
(popov). A leg or support for the 
slab of a table, or a sideboard. (Cic. 
Fam. vii. 23 Paul. Dig. 33. 10. 3.) 
These were frequently designed by 
good artists, and sold by themselves 
to private individuals, who could 
have a top fitted to them, which ac- 
counts for so many objects of this 
nature having been found in various 
excavations. They are sometimes 
composed of a single figure, amongst 
which the Sphynx frequently occurs ; 
or of a bracket leg, composed from 
the head and legs of different birds 
and animals, as in the present ex- 




ample, from the device on a terra- 
cotta lamp, intended to be used for 
side-boards, and slabs placed against 
a wall, or for what we now call con- 
sole tables. 

TRECHEDIP'NUM. A word 
coined or adopted from the Greek 
(Juv. iii. 67.) ; the meaning of which 
is very doubtful. Some suppose it to 
designate the boots (evSpouides) worn 
by the victors at the Grecian games ; 
others, a peculiar sort of costume 
worn by the Greek parasites, by 
virtue of which they gained ready 
admission to the houses where their 
company was sought or tolerated ; 
but all attempts to arrive at a defini- 
tive interpretation are purely con- 
jectural. 

TRIA'JRII. A body of heavy- 
armed infantry soldiers, who formed 
the third division of a Roman legion. 
They were originally distinguished | 



by the name of Pilani from the 
j heavy javelin (pilum) with which 
j they were equipped ; but when that 
weapon was also distributed to the 
j other two divisions, comprising the 
j Hasiati and the Principes, the old 
i name was changed for that of Triarii, 
either on account of the position they 
occupied in the order of battle, viz. 
the third line, which is the reason 
assigned by Livy, or because their 
corps consisted of picked men se- 
lected from each of the three heavy- 
armed classes, which is the reason 
assigned by Niebuhr. Their armour 
consisted of a bronze helmet, with a 
high crest, a cuirass, large shield, 
a short and pointed sword, and the 
heavy javelin or pilum ; but no au- 
thentic monument representing these 
details with sufficient precision is 
known to exist. (Varro, L. L. v. 
89. Liv. viii. 8. ) Towards the latter 
end of the republic, the original dis- 
tinction between the men styled re- 
spectively Hastati, Principes, and 
Triarii was abandoned, in conse-: 
quence of the new system adopted of 
drawing up the army by lines in 
cohorts. 

TRIB'ON (rpt$up). A Greek 
word, signifying literally an old gar- 
ment worn threadbare ; whence the 
term was given more specially to a 
very coarse, common, and scanty 
kind of cloak (pallium), worn by the 
people of Sparta, and adopted by other 




persons, who affected to ape Spartan 
manners ; more especially by the 
Cynics, as an outward sign of poverty, 



TRIBULUM. 



TRIBUNUS. 



68 5 



austerity, and simplicity. (Auson._Z*^. 
53. Demosth. Contra Conon. 2. p. 
306. Schaeffer. Aristoph. Pint. 882.) 
The illustration, from a statue of the 
Villa Borghese, represents a Greek 
philosopher exactly as the Cynic is 
described by Alciphron {Ep. iii. 40), 
half-naked in his iribon. In the 
original, the scantiness of the gar- 
ment, and the coarseness of its tex- 
ture, are distinctly marked by the 
form and quality of its folds ; but 
this character, though not altogether 
lost in our engraving, is rendered 
less forcibly, from want of decision in 
the drawing, consequent, in some 
degree, upon the minute scale to 
which it has been reduced. 

TRI'BULUM and TRI'BULA 
(to rpifioKa). A machine employed 
in threshing corn ; consisting of a 
wooden platform, having its under 
surface studded with sharp pieces of 
flint or iron teeth. It was drawn 
over the grain by an animal attached 




to it, and often Aveighted by objects 
placed on the top, or by the driver 
himself standing upon it. (Varro, 
R. R. i. 52. 1. Plin. H. X. xviii. 72. 
Virg. Georg. i. 164.) The practice 
is retained in the East, Avhere the 
machine exhibited by the illustration 
still continues in use. 

TRIB'ULUS (rptfoXos). A cal- 
trop; that is, a contrivance consisting 
of four strong iron spikes projecting 
from the sides of a ball of the same 
metal, and arranged in such a man- 




ground, one of them would always 
stand upright, as in the annexed 
example, from an original. It was 
employed in ancient warfare for the 
purpose of impeding a charge of 
cavalry, being thrown on the ground 
to wound the horses' feet. Veg. 
Mil. iii. 24. 

TRIBU'NAL (StKaar-fipiov). The 
tribunal ; a raised platform at one 
extremity of a law court, upon which 
the curule seats of the judges and 
other persons of distinction who 
wished to attend the proceedings were 
placed. (Cic. Verr. ii. 2. 38. Id. 
Oral. i. 37. Suet. Tib. 33 ) It was 




ner, that when thrown upon the 



sometimes of a square form, and 
constructed within the external walls 
of the building, as shown by the 
abutment on the right side of the 
annexed engraving, which represents 
the ground -plan of the Basilica at 
Pompeii ; at others, it consisted of a 
semicircular absis or alcove {Jiemicy- 
cliuni, Vitruv. v. 1. 8.), projecting 
beyond the external wall of the edi- 
fice, as in the Basilica at Verona, of 
which a restoration is exhibited at 
p. 81. 

2. In a camp, the tribunal was an 
elevated platform upon which the 
general sat to administer justice 
(Tac. Hist. iv. 25. lb. iii. 10.) ; simi- 
lar to the suggestum on p. 632. 

3. In a Roman theatre, the tribunal 
was an elevated seat in the pit {or- 
chestra. Suet. Claud. 21.), generally 
appropriated to the use of the praetor 
(Id. Aug. 44.). 

TRIBU'XUS. A tribune; a title 
originally signifying an officer be- 
longing to a tribe, either elected as 
its president, or to perform certain 
duties in its behalf ; whence the 
name was subsequently transferred 
to several different kinds of officers 



6S6 TR I BUN US. 



TkICHILA. 



appointed for the performance of 
various other duties. Of these the 
most important are the following- — 

1. Tribuuus Celerum. The tri- 
bune who commanded the royal body 
guard of calvary under the kings. 
Liv. i. 59. Pomp. Dig. i. 2. 2. 
Celeres. 

2. Tribuiii militum consulari potes- 
tate. Tribunes of military rank 
with consular power. They were 
supreme magistrates possessing the 
same rank and power as the consuls, 
but varying in number from three to 
six, and were first elected in the 
year u.c. 310, instead of consuls, as 
a sort of compromise between the 
patricians and plebeians, in order to 
avoid the necessity of appointing 
members of the latter class to the 
consulship. Their costume and in- 
signia of office were the same as 
those of the consuls. Liv. iv. 6. 
and 7. 

3. Tribuni militares or militum 
(XiAi'apx o 0- Military tribunes; offi- 
cers in the Roman army who held a 
rank below that of the legal/', but 
superior to that of the centuriones. 
(Varro, L. L. v. 81. Cic. Cluent. 36.) 




The numbers of these officers ap- 
pointed to each legion varied at 
different periods, as the number of 
men composing, its strength was in- 
creased ; but they enjoyed an im- 
portant command and high rank, 
being often represented on the co- 
lumns and arches in the immediate j 
staff of the impei'ator, and wearing 
the same accoutrements with himself 



and the legatus, as exhibited by the 
annexed group, from the Column of 
Trajan, which shows the emperor in 
front, a legatus immediately behind 
him, and the tribune in the rear. 

4. Tribuni plebei or plebis (Syuap- 
X°t). Tribunes of the people ; ma- 
gistrates elected by the plebeians 
from amongst their own order, to 
defend the rights and interests of the 
poorer and weaker classes against the 
power of the patrician aristocracy. 
Their numbers varied from two at 
first to ten finally ; but they enjoyed 
immense power, and were attended 
by runners {viator es) instead of lie- 
tors, whence the emblems attributed to 
them on coins are the long bench (sub- 
sellium) and a wand (virga) ; though 
as mere civilians, they have no distin- 
1 guishing costume but wear the national 
toga. Liv. ii. 32. Cic. Lev. iii . 7. 

TRICH'ILA, TRICHILUM, 
TRIC'LA and TRIC'LIA. A 
bower, or a summer-house, con- 
structed in the pleasure-grounds of a 
villa, or other locality, to afford a 
shady retreat for dining in during 
genial weather. (Virg. Copa. 8. 




Inscriptt. ap. Orelli, 4517. 4456. 
Caes. B. C. iii. 96. Compare Prop, 
iv. 8. 35. seqq. ) It was frequently 
formed of wood and trellis- work, 
over which vines, gourds, and other 



TRICHOR UM. 



TRICLINIUM. 



687 



parasitical plants were trained (Co- I 
lumell. x. 378.); but sometimes as a 
permanent building, decorated with 
columns and other objects of art (In- 
script. ap. Orelli, 2909,), like our 
summer-houses; as shown by the 
illustration, which exhibits a view of 
one of these retreats, with its dining- 
table, bases of masonry intended for 
receiving the mattresses of three tri- 
cliniary couches, and fountain in 
front, all as they exist in a perfect 
state of preservation in the house of 
Actseon at Pompeii. 

TRICHO'RUM {T P i X a>pov). A I 
term employed to designate some 
particular kind of apartment in 
houses or other buildings (Stat. Sylv. 
i. 3. 58. Spart. Pesc. 12. Inscript. ap. 
Orelli, 1395. ap. Fabretti, p. 740. n. 
505. ) ; supposed to mean a room 
divided into three compartments, or j 
perhaps aisles, by rows of columns. 

TRICLINIAR'CHES. A chief 
servant, to whose care the arrange- j 
ments of the dinner-table and dining- 
room {triclinium) were confided, and 
the direction of the waiters and sub- j 
ordinate servants committed. Pet. 
Sat, 22. 6. Inscript. ap. Orelli, 794. 

TRICLINIA'RIS. Characterizes 
any article, utensil, or object con- j 
nected with the service and furniture 
of a dinner-table and dining-room 
{triclinium) ; as, lectus tricliniaris 
(Plin. H. N. xxxvi. 6.), the dining- 
couch (Lectus, 4. ) ; gradus triclini- 
aris (Varro, L. L. viii. 32.), the steps j 
by which the couch was ascended 
(GRADUS, i.); mappa tricliniaris 
(Varro, L. L. ix. 47. ), a table napkin 
(Mappa, i.); and, absolutely, in the 
•plural, tricliniaria (Plin. H. AT. viii. 
74.), the coverlets and hangings used 
upon and about the couch (Peri- 
STROMA, StRAGULUM, ToRALE) ; or 
the dining-rooms themselves (Varro, 
R. R. i. 13. 7. Triclinium, 2.). 

TRICLPNIUM {rpiKXivov). Does I 
not imply a single tricliniary couch 
{lectus.. tricliniaris), but the conjunc- 
tion of three dining couches arranged 
together (Varro, L. L. ix. 9. Id. 



R. R. iii. 13. 2. Macrob. Sat. ii. 9.), 
so as to form three sides of a square, 
leaving a vacant space in the centre 
for the dining-table, and the fourth 
side open for the servants to enter and 
place the trays upon it. A triclinium 




thus constituted was in general in- 
tended for the reception of nine per- 
sons, three on each couch ; but that 
precise number was not rigorously 
enjoined, for sometimes the places 
were not all filled ; at others, the 
couches were only adapted to receive 
a single person (see the wood-cut s. 
Accubttum), so that the party would 
not consist of more than three ; and 
in the example here introduced, 
though the two sides accommodate 
three each, no less than seven indi- 
viduals repose upon the cross end. 
The, original bas-relief from which 
the illustration is taken, was found 
at Padua (formerly Patavium), a good 
deal corroded, but still retaining suffi- 
cient details to afford an accurate 
notion of the exact manner in 
which the three couches of a tricli- 
nium were disposed with the company 
upon them ; though in this instance 
they are not absolutely couches 
{lecti), but permanent bases of ma- 
sonry, of the same character as those 
shown in the preceding illustration, 
upon each of which a mattress 
was laid, as seen under the bodies 
of the recumbent figures. If a 
table like that of the last cut were 
placed in the centre the whole scene 
would be complete. The figures on 
the left side are still reclining as at 
dinner; those on the right, already 
replete, have turned on their backs to 



688 TRIDENS. 



TRIG A. 



take a siesta (Juv. i. 56. Ov. Am. 
ii. 5. 13.), while the rest of the party, 
at the farther end of the triclinium, 
are enjoying their cups. The scene 
may possibly represent a funeral feast 
{silicernium) ; or, more probably, a 
drinking party after a feast {comis- 
satio, symposium), to which it was 
customary to invite other companions 
besides the dinner guests ; and thus 
the extra numbers crowded upon the 
farthest mattress would be accounted 
for. 

2. A dining-room, in which \he tri- 
clinium was laid out. (Cic. Or. ii. 
65. Phgedr. iv. 24. Pet. Sat. 22. 3. 
Vitruv. vi. 6. 7. Ib. 7. 4.) Several 
apartments of this kind have been 
exposed to view in the houses of 
Pompeii, mostly small, and with 
fixed basements, instead of movable 
couches, for the occupants to recline 
upon, as shown by the two preceding 
wood-cuts ; but it will be understood 
that other dining-rooms, originally 
fitted with regular couches, have lost 
their characteristic features by the 
removal or decay of the furniture be- 
longing to them. 

TRID'ENS {rpioSovs, rplaiva). 
Literally furnished with three teeth, 
i. e. prongs ; whence applied abso- 
lutely in the same 
sense as fuscina ; a 
three-pronged fork 
for spearing fish 
(Plin. H. N. ix. 20. 
Wood-cut s. Fus- 
cina, 1.); a similar 
weapon used by the 
gladiators called re- 
tiarii or netmen (Juv. 
viii. 203. wood- cut 
s. Fusctna, 2.) ; the 
trident of Neptune, 
appropriately attri- 
buted by poets and 
artists to the sea-god 
in lieu of a sceptre. 
13. Id. sEn. ii. 610. 

TRIDEN'TIFER and TRIDEN'- 
TIGER. Bearing the trident or 
sceptre of the seas ; an epithet and 




emblem especially characteristic of 
I the god Neptune, who is thus repre- 
I sented in the last illustration, from a 
j miniature in the Vatican Virgil. Ov. 
J Met. viii. 595. Id. xi. 202. 

TRIENS. A copper coin, equal 
j in value to one- third of an As. and 
weighing four ounces. 
(Plin. H. N. xxxiii. 
I 13.) It has four balls 
j stamped upon it to de- 
' note the value, as in- 
i the annexed example 
i from an original drawn on a scale of 
i : two-thirds the actual size. 

TRIERAR'CHUS (rpi-fipapxos). 
j Properly, the commander of a Greek 
j trireme, whence the title was trans- 
ferred into the Roman navy. Tac. 
I Ann. xiv. 8. Id. Hist. ii. 16. 

TRIE'RIS {rpitp-ns). A Greek 
I word, for which the Romans more 
commonly use Triremis. 

TRI'FAX. A missile of four and 
! a half cubits long, which was dis- 
; charged from the catapulta (Festus 





s. v. Ennius ap. Fest. /. c. Aul. Gell. 
x. 25. I.) ; probably a sort of spear, 
so denominated from having three 
barbs, as in the example, which is 
copied from the column of Trajan. 

TRIGA. A three-horsed car, and 
a team of three horses yoked abreast 



Georg. 




Isidor 



Ulp. Big. 



TRIGARIUM. 



TR1G0NUM. 



689 



21. I. 38.) ; two of which drew from 
the pole, the third being attached as 
an outrigger by a brace {simplici vin- 
culo. Isidor. Orig. xviii. 35.) to its 
neighbour, or possibly to ropes such 
as are seen to pass on each side of 
the middle horse round the forepart 
of the car, in the annexed example, 
engraved by Ginzrot from an Etrus- 
can vase in the Museum at Vienna. 

TRIGA'RIUM. A place or en- 
closure for the exercise of trigce, or 
of horses and cars in general. (Plin. 
H. N. xxxvii. 77.) There were seve- 
ral driving courses of this description 
in the city of Rome, which are enu- 
merated by P. Victor. 

TRIGA'RIUS. One who drives 
a team of three horses yoked to a car 
(triga). Plin. H. N. xxviii. 42. 

TRI'GLYPHUS (t^Au^os). A 
iriglyph ; a member of the frieze in a 
Doric entablature, consisting of three 
parallel channels with drops {gutta) 
underneath, arranged at regular in- 
tervals throughout the frieze, and 
intended to represent on the external 
face of the building the ends of the 




tie-beams {tigna) as they are ranged 
above the architrave. ( Vitruv. iv. 2. ) 
The literal meaning of the woi"d is 
thrice slit or grooved ; and it is sup- 
posed that the ends of the tie-beams in 
the old wooden buildings were ac- 
tually cut into three parallel channels, 
either for the purpose of conducting 
the rain-water from the cornice above 
them, or to prevent the beams from 




splitting. Others are of opinion that 
these grooves were not positively cut 
out on the beam heads, but naturally 
I produced by the gradual effects of 
the rain-water trickling over them ; 
but in either case the sculptured slab 
or triglyph would represent correctly a 
real or artificial feature in the original 
timber roof. The illustration shows 
a part of the frieze now remaining 
on the theatre of Marcellus at Rome. 
TRIGON. A small ball, hard 
I stuffed, and covered with leather, for 
I playing a game designated 
i by the same name. (Mart, 
i iv. 19. xii. 83.) The 
example is from an Etrus- 
! can bronze ; the stitching 
of the leather is plainly ^ 
indicated, and the size of the ball 
may be imagined from the size of the 
j hand, that of a child, which holds it. 
I 2. The game played with a ball or 
balls of the kind just described. ( Hor. 
Sal. i. 6. 126.) It is supposed that 
I three persons were required to make 
out the game, who stood in the i-ela- 
tive positions occupied by the three 
points of a triangle, so that each 
would have an opponent in front of 
him, on his right and left ; and as 
j expertness in the use of the left hand 
is mentioned as essential to a good 
j player (Mart. xiv. 46.), it is further 
\ inferred that each one was furnished 
' with two balls, which he had to de- 
liver right and left, and catch in the 
1 same manner. But this account de- 
i pends more upon conjecture than 
positive evidence, as no representation 
of the game, sufficiently decisive to 
! establish the fact, has yet been dis- 
1 covered. 

I TRIGO'NUM (rpiywuov). A tri- 
angular piece of marble, tile, or some 




artificial composition, used for in- 
laying patterns in a mosaic pavement 
2 X 



690 



TRILIX. 



TRIP US. 



of the class termed sectile (Vitruv. 
vii. 1. 4. Pavimentum, 2.), as shown 
by the border round the four sides of 
the illustration, which represents a 
piece of pavement on the threshold of 
the principal entrance to one of the 
houses at Pompeii. 

2. A musical instrument of trian- 
gular form, with all its strings of the 
same thickness, but of unequal lengths 
(Plat. Rep. 399. C. Soph. Fragm. 
361. Athen. iv. 77. 7b. 80.), and 
which, it is to be inferred from the 
figure on the left side of the illustra- 
tion, copied from a Pompeian paint- 
ing, was carried on the shoulder 
when played. The word does not 
occur in the present sense in any of 
the extant Latin authors ; nor is it 
clear whether they, or the Greeks, 




made use of the same term to desig- 
nate our triangle, which seems pro- 
bable, since that instrument was not 
unknown to them, as is proved by 
the figure on the right side of the 
engraving, copied from a marble 
bas-relief formerly belonging to the 
Giustiniani family at Rome, upon 
which a party of several females 
are represented playing upon differ- 
ent musical instruments— the triangle 
here introduced, the rattle termed cro- 
talum, the tympanum, or tambourine, 
and the double pipes, or tibia pares. 

TRIL'IX {Tpi/xiTos). Twilled of 
three threads thick ; that is, in which 
each thread of the weft (subtemen) is 
passed in the weaving over one and 
then under three threads of the warp 
{stamen), which requires three sets of 
leashes [lie id), and produces a ribbed 
pattern. Mart. xiv. 143. 

TRILO'RIS. A hybrid word, 



half Greek and half Latin, which 
means, literally, furnished with three 
thongs ; but it is used to designate a 
garment brocaded with a triple set of 
ornamental stripes or other pattern, 
termed paragundai, as explained under 
that word. Aurel. Vopisc. 46. 

TRIMOD'IA and -UM. A basket 
or other vessel containing the measure 
of three Roman pecks {modii). Colu- 
mell. ii. 99. Plaut. Men. Prol. 44. 

TRIOB'OLUS {t P i6&o\os). A 
silver coin of the Greek currency 
(Plaut. Bacch. ii. 3. 26.); containing 
three oboli, or half a drachma. It 
was coined, however, of two stan- 
dards ; the Attic, worth about \\d. of 
our money, and the ^Eginetan, which 
was nearly equal to b\d. 

TRIPET'IA. A term used in the 
patois of the Gauls, signifying a three- 
legged stool. Sulp. Sever. Dial. ii. 

TRIPUD'IUM. A term used in 
divination to indicate that the food 
was so greedily eaten by the sacred 
chickens, that part of it fell from 
their beaks and struck the ground, 
which was regarded as a sign of good 
omen. Cic. Div. ii. 34. 

TRIP'US (rpiirovs). Generally, 
any thing supported on three feet or 
legs ; whence the following charac- 
teristic senses :— 

1. A cauldron or vessel for boiling 
eatables of any 

description, which 
stood upon three 
legs over the fire, 
as exhibited by 
the annexed illus- 
tration from a 
picture represent- 
ing a scene in the 
market-place of 
Herculaneum. Isi- 
dor. Orig. xx. 8. 
5. Horn. //. xxiii. 
702. rpiirovs 4/ul- 
TTvpiBrjrrjs. 

2. A common three-legged 
such as poor people used to sit 
Isidor. Orig. xx II. 12. Sulp 
Dial. II. 




stool, 
upon. 
Sev. 



TRIREMIS. 



7RITURA. 69I 




3. The tripod, or stool of the 
Pythian priestess, upon which she 
sat to deliver her 
responses at Delphi 
(Cic. Virg. Ov.); 
of which the an- 
nexed figure is 
given in the 
plates of Mttller's 
Handbucli der Ar- 
chdologie der Kunst, 
as an accurately- 
detailed represen- 
tation ; and a fictile 
vase of Sir W. 
Hamilton's collection exhibits a tripod 
of very similar character, with Apollo 
sitting upon it. 

4. An article made of bronze, 
marble, or precious metals, in imita- 
tion of the sacred 
tripod, either for 
ornament or use ; 
often dedicated as 
an offering in the 
temples, or given 
as an honorary 
prize and reward 
of valour (Virg. 
Alii. v. 1 10. ); or 
used as an altar for sacrifice, like the 
annexed example from the arch erected 
by the Roman goldsmiths in honour 
of Septimius Severus. 

TRIRE'MIS [rp^p-ns). A trireme 
or war-galley furnished with three 
banks (ordines) of oars on each side, 
disposed diagonally one over the 





other (Plin. H. N. vii. 57. Virg. Alii. 



v. 119. Ascon. in Verr. ii. 1. 20.), as 
exhibited by the annexed figure, from 
an ancient fresco-painting, represent- 
ing the flight of Paris and Helen, dis- 
covered in the early part of the past 
century amongst some ruins in the Far- 
nese gardens at Rome, but which is 
no longer in existence, as the colours 
evaporated shortly after it was ex- 
posed. (Turnbull, Treatise on Ancient 
Painting, &c. fol. 1 740. ) A similar 
arrangement of the three banks of 
oars is also indicated in some of the 
sculptures on Trajan's column. In a 
trireme each rower plied a single oar, 
and sat upon a separate seat (sediie), 
fixed against the sides of the vessel 
in the directions indicated by the oar- 
ports, and not upon a long thwart 
(traristruni) , as was the case when 
several worked .upon the same oar. 
Those on the top bank had the longest 
oars, the most labour, and conse- 
quently the largest pay : they were 
termed 8pav?Tai .by the Greeks, the 
oar they used kwttt) dpavhris, and the 
thowl on which it rested cKaAfxos 6pa- 
v'itt)s. Those on the lowest rank had 
the shortest oars, least work, and 
lowest pay : they were termed 0aXa- 
lj.irai. Those who occupied the middle 
bank were termed C 6y 7' Ta '> and had 
their oars of a medium length, and 
their pay regulated accordingly. 

TRISPAS'TOS (rpiairaaros). A 
mechanical contrivance employed for 
the purpose of raising heavy 
weights, consisting of three 
pulhes {prbicidi) set in a sin- 
gle frame or case {trochlea) 
in the manner exhibited by 
the annexed figure, which re- 
presents a similar machine 
still in common use at the 
present day. Vitruv. x. 2. 3. 

TRITU'RA (dAoTjo-is). The act 
of threshing out corn, which was 
done in three several ways ; by beat- 
ing out the grain with a rod or a flail 
{pertica,fustis) ; by rubbing it out with 
a machine drawn over it by cattle {tribu- 
lum, and wood-cut s. v.) ; or by tread- 
ing it out with oxen or horses driven 



692 TRIUMPH ALIA. 



TRIUMPHUS. 



round the threshing-floor in the man- 
ner exhibited in the annexed en- 




graving from an Egyptian painting, 
a practice which is still customary in 
many parts of Italy and the East. 
Varro, L. L. v. 21. Id. R. R. i. 52. 
2. Columell. ii. 20. 4. Id. i. 6. 23. 

TRIUMPHA'LIA. The orna- 
ments and insignia conferred upon a 
general at his triumph ; consisting of 
an embroidered toga and tunic (Toga, 
4., picta, and Tunica, 14., palmata), 
a sceptre with the image of an eagle 
on its top (Sceptrum, 4.), a chaplet 
of laurel leaves and a crown of gold 
(Corona, i.), and a car decorated 
with ivory carving (Currus, 4.). 
Tac. Hist. iv. 4. Liv. x. 7. 

TRIUM'PHUS (epiafi&os). A 
triumph, or grand military procession, 
in which a victorious general and his 
troops entered the city after the suc- 
cessful termination of an important 
war, commencing at the porta trium- 
phalis, then passing through the Vela- 
brtem and Circus Maximus, along the 
Via Sacra and Forum up to the temple 
of Jupiter Capitolinus on the Capi- 
toline hill. It was headed by the 
entire body of the senate, who went 
out to meet the troops and conduct 
them into the city. Next followed 
the brass band, playing upon trumpets 
and horns (wood-cuts s. CoRNJCEN 
and Tubicen) ; they preceded a file 
of carriages laden with the spoils taken 
from the enemy, intermixed with 
portable stages, on which articles 
most remarkable for value or beauty 
of workmanship were prom inently dis- 



played (wood-cut s. Ferculum, 2.), 
to attract the observation of the 
public, whilst the quantity and value 
of the booty and the names of die 
conquered provinces were placarded 
upon boards affixed to tall poles 
(wood-cut s. Titulus, 1.), and car- 
ried by the side of the objects de- 
scribed upon them. Then came a 
j band of pipers (Tibicines) in advance 
of the victim intended for sacrifice — 
a white bull decorated with fillets of 
I wool round the head (wood-cut s. 

Infulatus), and a broad band of 
j richly-dyed cloth across its back 
(wood-cut .r. Dorsualia). Behind the 
J victim walked a body of priests and 
I their attendants with the sacrificial 
i implements. After them the arms, 
standards, and other insignia of the 
! conquered nations were displayed, 
J immediately in advance of the princes, 
leaders, and their kindred taken cap- 
j tives in the war, followed by the 
entire number of ordinary prisoners 
| in fetters. Next came the lictors of 
j the general, in their civic costume, the 
j toga, and with their brows and fasces 
wreathed with laurel (wood-cuts s. Lic- 
j tor and Fasces, 4. ) ; they formed a 
body immediately in advance of the 
triumphant general, who was dressed 
in his triumphalia, and standing in a 
j circular cardrawn by four horses (wood- 
cut s. Currus, 4). On his brow he 
' wore a wreath of laurel, and behind 
him in the car stood a public servant, 
j who held over his head a massive 
j crown -of gold studded with jewels 
j (wood-cut s. Corona, i.). His 
youngest children were placed in the 
I car with him ; whilst those who had 
attained to manhood rode on horse- 
back beside the car, or upon the 
horses which drew it. Behind the 
general marched the superior officers, 
the Legati, Tribuni, and the Eqaites, 
all on horseback; and the procession 
was finally closed by the enthe body 
of the legions, carrying branches of lau- 
rel in their hands, and having chaplets 
of the same shrub round their heads, 
alternately singing songs in praise of 



TRIVIUM. 



TROPMUM. 693 



their general, and cutting jokes at his 
expense. During the course of the 
route the procession passed under a 
temporary arch designed for the pur- 
pose and erected across the street, 
which in early times was taken down 
after the fete ; but latterly it was re- 
placed by a permanent structure of 
marbte or stone (wood-cut s. Ar- 
cus, 5.).; 

2. Triumphus navalis. A public 
procession in celebration of a great 
naval victory, the arrangements of 
which are not represented in any 
works of art, nor detailed in writings. 
Liv. xvii. Epit. 

TRIV'IUM (rpiodos). A spot 
where three streets or roads meet 
from opposite directions. Cic. Div. 
i. 54.) When strictly applied, the 
term has a more especial inference to 




the streets of a town (Virg. JE11. iv. 
609. Justin, xxi. 5.), as opposed to 
compitum (Cic. Agr. i. 3. ), which re- 
fers to the convergence of cross-roads 
in the country. But this distinction 
is not rigorously observed ; for trivium 
is often used in both senses, of a 
public and much-frequented highway, 
either in a town or country ; whence 
the Latin word trivialis, and our own 
" trivial," acquire their secondary 
meanings of vulgar or common-place ; 
that is, literally, which may be met 
with in any public and thronged 
thoroughfare. The illustration af- 
fords a view in the city of Pompeii, 
with three streets, in the second dis- 
tance, converging to a point. 

TROCH'ILUS (rpoxt'Aos). Same 
as Scotia. Vitruv. hi. 5. 2. and 3. 



TROCH'LEA {r P o X ^a). A 
contrivance for the multiplication of 
mechanical power in raising weights, 
consisting of a case with a set of 
blocks or pullies {orbiadi) fitted into 
it. (Vitruv. x. 2. 1. Cato, R.R. hi. 
5. Lucret. iv. 903.) See the illustra- 
tion <s. Trispastcs, which exhibits a 
case furnished with three pullies. 

TROCH'US (Tpo X os). A boy's 
hoop; made of iron or bronze, and 
trundled by a crooked-necked key 
{clavis), as exhibited by the annexed 
illustration, from an engraved gem. 




(Hor. Od. iii. 24. 57. Id. A. P. 380. 
Prop. iii. 14. 6.) It frequently had 
a number of small rings set round its 
rim (Mart. xiv. 169., and wood-cut 
s. Anulus, 4.), to make a jingling 
noise as it rolled on ; and sometimes 
small bells {tintinnabuia) are seen 
instead of rings. 

TROPMUM (rpSiratoy). A 
trophy ; a monument erected on the 
spot where a victory had been ob- 
tained ; or, in the case of naval war- 
fare, upon the nearest point of land 
to where the action had taken place. 
It was originally formed with the 
trunk of a tree, upon which and its 
branches some arms belonging to the 
defeated party were suspended, as in 
the illustration, from an Imperial 
coin ; but latterly trophies were de- 
signed as elaborate works of art, in 
marble or bronze, and erected apart 
I from the battle-field, as permanent 



694 



TRUA 



TRULL A. 



mementoes of the contest. 




Inv. ii. 23. Virg. JEu. xi. 5 — n. 
Suet. Cal. 45. Claud. 1. 

TRUA {Tpvr)\a, ropvvr)). A large 
flat ladle employed for skimming the 
surface of liquids, for stirring and 
moving vegetables or meats when 
boiling (Titin. ap. Non. s. v. p. 19. 
Festus, s. Antroare), or for removing 
them from the pot, without taking up 
the water at the same time. With 




this object, it was perforated by a 
number of small holes at the bottom, 
as represented by the annexed ex- 
ample, from an original of bronze 1 
found at Pompeii ; and this property, 
as well as the manner of using it, 
accounts fully for the Greek names 
it received, with which the Latin one 
is connected, viz. rpixa, to rub or stir, 
and Tope'co, to bore ; one or the other 
of which notions is found to per- 
vade, and to convey a characteristic 
meaning to the other special senses 
of the word trua, as well as its dimi- 
nutive trulla. 

2. A perforated cap or plate cover- 
ing the mouth of a sink in a kitchen, 
&c, in order to prevent the refuse 
from choking the pipe, while it per- 
mits the liquid to drain through it. 
Varro, L. L. v. 118. 

TRULLA {rpovXXlov). Diminu- 
tive of Trua. A small perforated 



I ladle of the same use and character 
as the last described. Varro, L. L. 
v. 118. Hero, de Spirit, p. 101. 
2. (Tpv&Mov. ) Either used sepa- 
; rately, or with the epithet vinaria. 
I A drinking-cup, or table utensil em- 
j ployed for taking the wine out of a 
j larger recipient, which contained a 
1 quantity mixed with snow. It^was a 
species of cyathus of an improved 
character, being furnished with an 
inner case perforated as a strainer, 
and fitting into the hollow bowl of the 
cup, so that when adjusted together 
the two would form but one bod)-, 
j which might be conveniently dipped 
into the large vessel, and filled : 
! then, by removing the perforated 
i case, any sediment or impurity depo- 
sited by the snow would be removed 
with it from the pure liquid left in 
the bowl. (Cic. Verr. ii. 4. 27. 
Varro, L. L. v. 118. Plin. H. X. 
xxxvii. 7. Scaev. Dig. 34. 2. 37.) 
The illustration represents an ori- 
ginal found at Pompeii, with a section 
of the perforated case in its bowl on 




the right. The material is bronze ; 
but the same utensil was also made 
in common earthenware (Hor. Sat. 
ii. 3. 144.), as well as porcelain 
(Plin. /. c. ) and pietre diwe (Cic. 

3. The pan of a night-chair (Juv. 
ill. 108.) ; probably so termed when 
consisting of a double case, con- 
structed upon the same principle as 
the vessel last described. 

4. A fire-basket made of iron 
(Liv. xxxvii. 11.), in which ignited 
matter could be transferred from 
place to place ; and so termed from 
the perforations drilled in its sides to 
create a draught of air, like the ex- 
ample on the next page, representing 
an earthenware trulla, discovered in an 



TRULLEUM. 



TUB1CEN. 



695 



excavation near Rome, which, when 




found, had a lamp inside it. 

5. A trowel used by bricklayers 
for laying the mortar between bricks 
(Isidor. Orig. xix. 18. 3.), and by plas- 
terers for laying on and smoothing 
the stucco upon walls (Pallad. i. 15. 
Ib. 13. 2.). The illustration repre- 



sents an original found amongst other 
building implements in a house at 
Pompeii. This sense of the word 
trulla arises from the Greek rpvui, in 
allusion to the manner of using the 
instrument ; connected, perhaps, with 
its resemblance to a ladle (Trua, i) ; 
for it will be observed that the an- 
cient trowel, as exhibited by the 
example, has a form very different 
from our own, having a flat blade 
otherwise shaped like a spoon, pre- 
cisely like the plasterer's trowel now 
used at Naples, which is called a 
plasterer's spoon — cucchiaja da fab- 
bricatore. 

TRULL'EUM or TRULL'IUM. 
A slop-pail ; used by the ancients to 
receive the dirty water in places 
where several persons washed their 
hands at the same time. The object 
is repeatedly mentioned by Cato, and 
always in conjunction with other 
vessels employed in washing, such as 
hand and foot-basins, &c. ; and 
doubtless resembled in constructive 
principle the pails commonly used in 
our dressing-rooms, which have a 
perforated plate at the top, through 
which the dirty water is poured with- 
out splashing, while it serves, at the 
same time, to conceal the unsightly 



appearance of the contents from the 
person using it. Varro, L. L. v. 
118. Id. de Vit. P. R. ap. Non. s. v. 
p. 547. Cato, R. R. x. 2. xi. 2. 

TRULLISSA'TIO. A plastering 
of cement laid on with the trowel 
{trulla). Vitruv. vii. 3. 5. Trulla, 5. 

TRUT'INA (rpvTap-n). A general 
term for any kind of balance used 
for weighing ; sometimes indicating 
the steel-yard (Vitruv. x. 3, 4. Sta- 
tera) ; at others, a pair of scales 
(Juv. vi. 437. Libra). 

TRYB'LIUM(Tp^Aio^). A table 
utensil (Varro, L. L. v. 120. Plaut. 
Stick, v. 4. 9.), the precise character 
of which is not ascertained. 

TUB'A (o-dAirtyt). A wind in- 
strument made of bronze, with a fun- 
nel or bell-shaped mouth, and straight 
tube (Ov. Met. 1. 98. Juv. ii. 118. 




Veg. Mil. iii. 5.), l ike our trumpet, 
giving out very loud and interrupted 
notes'" ( fractos sonitus, Virg. Georg. iv. 
72. terribili sonitu taratantara dixit. 
Ennius ap. Prise, viii. 842.). The 
example is from the arch of Titus. 

TUB'ICEN {(raXiriyKT^s). A 
trumpeter who blows the tuba (Varro, 
Z. Z. v. 91. Ov. 
Met. iii. 705.), as 
exhibited by the an- 
nexed figure, from 
a bas-relief on the 
arch of Constantine. 
Trumpeters were al- 
ways included in 
the brass band of 
the army (Liv. ii. 
64. ) ; amongst the 
musicians who per- 
formed at religious 
ceremonies (Varro, 
Z. Z. v. 117.) ; and at funeral so- 
lemnities (Pers. iii. 103. ) ; whence 
the expression ad tubiciues mittere 
(Pet. Sat. 129. 7.) means to prepare 
for death. 




696 TUCETUM. 



TUMULUS. 



TUCE'TUM. A savoury dish 
composed of beef, or pork, and lard 
potted down. Pers. ii. 42. Schol. 
Vet. . ad I. 

TUD'ES and -IS. An antiquated 
name for a mallet. Festus s. v. Se- 
ver. JEtn. 559. Malleus. 

TUDIC'ULA. Diminutive of 
Tudes ; a machine for bruising 
olives, and separating the fleshy part of 
the berries from their stones, previous 
to placing them under the press (tor- 
cular), by which the oil was squeezed 
out. Its action was similar to that of 
a TribuLUMj working in an upright, 
instead of horizontal direction (Colu- 
mell. xii. 52. 7. ) ; but the machine is 
objected to by Columella, as liable to 
get out of order, or to have its action 
impeded by very trifling circum- 
stances ; such as that of throwing in 
only a few berries over the proper 
quantity. At Mongres, in France, 
olives are bruised by instruments 
called battoirs ; the name and opera- 
tion of which are believed to exhibit 
genuine traces of the Roman tudkula. 
Schneider, ad Columell. /. c. Id. de 
trapeto Catonis, p. 617. 

TUGUR'IUM. A cottiers hid; 
forming an abode for the poorest 




classes of the rural population. They 
were made of wood, with peaked 
roofs of turf, the bark of trees, hur- 
dles, or other materials of the same 
common description, and apparently 
without windows (Plin. H. N. xvi. 



14. Virg. Eel. i. 69. Columell. xii. 

15. 1. Festus s. v. ), as exhibited by 
the illustration from one of the 
Pompeian paintings. 

TULLIA'NUM. An under- 
ground dungeon belonging to the 
state-prisons at Rome ; so termed 
after the name of Servius Tullius, by 
whose orders it was made. (Sail. 
Cat. 58. Varro, L. L. v. 151. Liv. 
xxix. 22. xxxiv. 44. Festus, s. v.) 
The Tullianum is still in existence, 
retaining all the features minutely 
described by Sallust, and is exhibited 
by the annexed engraving. It con- 




| sists of an elliptical chamber, nineteen 
feet by nine, and six and a half high ; 
but the original height may have been 
greater, as the present pavement is 

I modern. The masonry is rude, but 
the blocks are large, and the roof 

! possesses a slight curve. The only 

I entrance to it is through a square 

j opening of three feet five inches 

I by three feet four, formed in the 

I roof of the dungeon, which also 
serves as the flooring to another cell 

j immediately over-head (see the wood- 
cut s. Carcer, i.); hence the ex- 

! pression in Tullianum demittere (Sail. 

I Cat. 55.) and delegare (Liv. xxix. 22). 
TUMULA'TUS. Buried in the 

I soil, with a mound of earth and stones 
{tumulus) piled over the grave. Ov. 

I Pont. i. 6. 49. Catull. lxiv. 193. 
TUM'ULUS (rv^os, ko\uv7)). A 
mound of earth or rough masses of stones 
(Horn. 77. xxiv. 798.) piled up into a 
pyramidal form, in order to form a 
cairn or barrow over the grave. (Cic. 

I Arch. 10.) On its summit a tal! 



TUNICA. 



697 




column {stele) was usually erected 
for a monument 
(Horn. 77. xi. 
371) ; as exhi- 
bited by the an- 
nexed illustration, 
representing the 
tumulus of Adonis 
in a painting at 
Pompeii. Hence 
the word is often 
used in a general 
sense for a grave, 
or a tomb. Pedo. 
Albin. El. i. 69. Ib. 73 — 74. Virg. 
Eel. v. 42. Ov. Trist. iii. 3. 72. 

TUN'ICA (xitcS*). A tunic ; the 
principal under-garment of the 
Greeks and Romans of both sexes ; 
corresponding very nearly in its 
general form, use, and character, 
with the shirt, the chemist, the frock, 
and blouse of modern times. It was 
made, however, in various fashions, 
to suit the sex or the habits of dif- 
ferent ages and classes of the popula- 
tion ; each of which, in the copious 
language of the Greeks, was distin- 
guished by a separate name or epi- 
thet descriptive of the peculiar form 
to which it was referred. But all 
these varieties, which are severally 
enumerated in the following para- 
graphs, preserve the same general 
characteristics in regard to the use of 
the garment, its place upon the per- 
son, and the manner of adjusting it ; 
so that they are all properly classed 
under the common name of tunics. 

I. {xiT&vafx<$>iiJ.6.crx aKos > Colobium.) 
The ordinary tu- 
nic of the male 
Greek and Ro- 
man consisted of 
a plain woollen 
shirt, girded 
round the loins, 
and reached to 
the knees, or 
thereabout, with 
two short sleeves, 
which just co- 
vered the deltoid 



muscle, or upper portion of the arms, 
as far as the arm-pit {/xaax^v)* as 
exhibited by the first illustration, 
from one of the figures on Trajan's 
column. (Jul. Pollux, vii. 47. 
Aristoph. Eq. 882. Serv. ad Virg. 
Alh. ix. 616.) The industrious part 
of the free population, whilst engaged 
in their daily pursuits, wore it, in the 
manner there represented, without 
any other covering ; but the upper 
ranks, and the others likewise upon 
festivals and holidays, when they 
were dressed in full attire, had al- 
ways some loose outside drapery dis- 
I posed over the tunic, which would 
i of course conceal the greater portion 
; of the under vest, in the manner 
; shown by the annexed figures, repre- 





senting on the left side the statue of 
Aristides, with the pallium over his 
tunic, and on the right, a Roman 
with his toga outside, from a bas- 
relief of the imperial age. These 
two articles thus constitute the com- 
plete attire usually worn by the great 
mass of the free population in ancient 
j Greece and Italy, and are as inti- 
| mately connected with each other as 
the shirt and coat of modern times. 

2. (x'to>!/ erepofxaaxa^os. ) A tunic 
made with only one short sleeve 
covering the deltoid muscle of the 
left arm as far as the arm-pit, in the 
manner represented by the next 
figure, from a small marble statue of 
the Villa Albani. The Latin lan- 
guage does not afford any distinct 



6 9 8 



TUNICA. 




name for a tunic of this fashion, which 
renders it probable that it was not 
adopted by the 
Romans ; and 
amongst the 
Greeks it was 
esteemed a ser- 
vile garb (Jul. 
Pollux, vii. 47. ), 
not befitting the 
free population, 
though it is worn 
by Doedalus in 
one of the paint- 
ings at Pompeii. 
The example 
here given is 
clearly , intended 
to represent a 
young slave going to market, with a 
purse in one hand and a basket in 
the other. 

3. (ifauls, exomis . ) A tunic which 
only covered the left shoulder [3>fios), 
leaving the right 
one entirely ex- 
posed, in the 
manner repre- 
sented by the 
annexed figure 
from the Vatican 
Virgil. It is 
there fastened by 
a knot on -the 
top of the shoul- 
der ; but the ex- 
omis was also made with a single 
sleeve, when it wis termed by the 
Greeks i^couls srepoudcrx^os (Pollux, 
vii. 47.), of which the preceding figure 
affords an example. On works of 
art it is often made of fur, and is 
commonly worn on the stage, by the 
labouring population, slaves, artists, 
and even females addicted to the 
chase and war ; by Daedalus, Diana, 
and the Amazons. Aul. Gell. vii. 
12. 1. Festus s. v. Aristoph. Vesp. 
444. Schol. Vet. ad I. 

4. (67ram(?.) A tunic worn by the 
females of Greece (Jul. Pollux, vii. 
49.), which received the name from 
beinsr fastened with brooches on the 





top of each shoulder at the point 
where it joins the collar-bone, as im- 
plied by the primary 
sense of the Greek 
word, and shown 
by the annexed 
figure of Diana 
from a statue of the 
Villa Pamfili. This 
is the old tunic of 
the Doric races, 
which was made 
of woollen, entirely 
without sleeves, 
fastened by a girdle 
worn low upon the 
hips, like a man's, 
never reaching be- 
low the knees, and in many examples 
not much farther than midway down 
the thigh. 

5. ((Tx ia " r ° s X ir< *v- ) The slit tunic ; 
which was only sewed close up from 
the bottom on the left side, leaving a 
long slit on the ^ aA 
right, for the pur- 
pose of allowing 
free action to the 
limbs, and through 
which the greater 
part of the thigh 
would be seen in 
active exercise. It 
was usually fast- 
ened by brooches 
on the shoulders 
(Jul. Pollux, vii. 
54 — 55. ), in the same manner as shown 
by the last figure : but one of them may 
be supposed to have come undone in 
the present example, or to have been 
studiously omitted by the Pompeian 
artist who designed it, in order to 
indicate the natural restlessness and 
carelessness of boyhood. It was the 
characteristic tunic of the young 
Spartan damsels (Pollux. /. e.); but 
in works of art it is frequently given 
to the Amazons and children, and it 
is also worn by the Dacians on the 
column of Trajan. 

6. Tunica manicata or manuleata 
[\itwv xejpiScoTOS or KapirccTos). A 




TUNICA. 



699 



tunic with long sleeves reaching down sleeves, sometimes very full and 
to the hands or wrists, like the French hanging loose over the arms, as 

shown by the female figure, from a 
statue of Euterpe, and sometimes 
reaching down to the wrists, as shown 
by the example on the right, repre- 
senting a tragic actor in the character 
of Hercules, from a marble bas-relief. 
The Romans esteemed such a dress 
as unmanly in the extreme, and never 
adopted it as part of their male national 
costume. Cic. Verr. ii. 5. 13. Id. 
Cat. ii. 10. 

8. Tunica muliebris. A woman's 
tunic (Aul. Gell. vi. 10. 2.); gene- 
rally made longer and looser than 
those worn by men, and fastened by 
a girdle immediately under the bosom, 
instead of round the loins. The 
tunic of the Dorian females, which 
01 tnese pages, ine present example ^ forms an exception to the usual style, 
is taken from one of the figures be- 1 is shown by the figure No. 4. ; that 
longing to the celebrated group of of the Ionian women, with long 
Niobe, and is supposed to represent ' sleeves, by the left-hand figure in the 
the children's tutor or attendant last illustration ; and the annexed 
{pcedagogus) ; consequently, a slave ! example, from a marble bas-relief, 
and foreigner. Cic. Cat. ii. 10. \ exhibits 'the same article of female 
Plaut. Pseud, ii. 4. 48. Aul. Gell. vii. attire, with a half sleeve, reaching 
12. I. Virg. ^ELn. ix. 616. nearly to the elbow, and having a 

7. 1 'uuica talaris (xitwj/ TroBypris). long slit on the outside, the edges of 
A tunic with long skirts reaching 1 which are connected at intervals by a 
down to the ankle joints ; commonly set of studs or brooches, so as to leave 
worn in early times by both sexes I a series of open loops between them, 
of the Ionian races, whence it 1 This style appears from numerous 




was introduced at Athens, where it works of art to have been one of 

continued in use until the age of those most generally adopted by 

Pericles. It was made of linen and females of the better classes both in 

fastened by a girdle, and always had Italy and Greece. It is mentioned by 



blouse. In the 
early ages long 
sleeves were not 
worn by the 
male population, 
either of Greece 
or Italy, nor 
generally by fe- 
males ; but they 
were afterwards 
adopted as a lux- 
ury from the 
foreigner, and 
during the im- 
perial ages be- 
came very com- 
mon amongst both sexes, as may be 
seen by many specimens in the course 




700 



7 UNICA. 



TUNICA TUS. 



^Elian [V. H. i. 1 8) as one of great 
antiquity, and instanced as an example 
of female extravagance in dress. The 
principal tunic of the Roman matron 
and lady of rank is exhibited under 
the article Stola, by which name it 
was specially designated. 

9. Tunica interior and intima. The 
under and undermost tunic Both 
sexes were in the habit of wearing 
two tunics (Aul. Gell. x. 15. 3. Cal- 
purn. Eel. iii. 29. ) ; and persons of 
delicate constitutions would sometimes 
put on as many as four, one over the 
other (Suet. Aug. 82.), in which case 
the outer one is the tunic, tunica, and 
the under one tunica interior or in- 
tima. The annexed illustration from 
a marble bas-relief exhibits a figure 




in two tunics, very distinctly marked, 
the under one with long sleeves, and 
a skirt which reaches half-way be- 
tween the knee and ankle ; the outer 
one with short sleeves, and a skirt 
which terminates at the middle of the 
thigh, and a girdle round the waist 
which compresses both. But the or- 
dinary kind of tunic worn next the 
skin by women was made with short 
sleeves, and rather loose round the 
neck, very much like a modern che- 




mise, as shown by the annexed exam- 



I pie, from a Roman bas-relief, which 
! may be compared with the figure in- 
1 troduced s. Indutus, representing a 
Greek female taking off her chemise, 
j from a fictile vase. 

10. Tunica recta. See Recta. 

11. Tunica angusticlavia. See 
Clay us, 9. 

12. Tunica laticlama. See Cla- 
vus, 8. 

13. Tunica patagiata. See Pata- 

>GIUM. 

14. Tunica palmata. A flowered 
i tunic worn with the tega picta (Liv. 

] x. 7. xxx. 15.); supposed to have 
, been ornamented with embroidery 
representing palm branches, as it was 
the one worn by a general at his 
triumph 

15. Tunica picta. An embroidered 
tunic worn by the Salii. Liv. i. 20. 

16. Tunica asema. A plain tunic 
without any ornament upon it (Lam- 
prid. Alex. Sev. 33. ) ; like any of 
chose shown from Nos. I. to 10. ; all 
the rest, from 11. to 15., receiving 
their designations not from any pecu- 
liarity of form, but from the ornaments 
interwoven, embroidered, or sewed 
upon them 

TUNICA'TUS (iaovoxi-t<0v? olox't-- 
rwv). In a general sense, wearing a 
tunic ; but the word is more com- 
monly opposed in an express manner 
to togatus, and means wearing only 
the tunic, as corresponding with our 
expression ' ' in his shirt, " or ' ' with- 
out his coat." (Suet. Aug. 24. IIk 
i 100. Nero, 48.) The term, when 
1 applied to persons of the better classes, 
sometimes conveys a notion of being 
I at their ease in the country, or in 
dishabille, as they were in the habit 
of taking off the toga when at home 
or out of town, whence tunicata quies 
(Mart. x. 51.) expresses the ease and 
independence of home or the country ; 
but it is more frequently applied in a 
sense exactly contrary to this, indi- 
cating that the person is occupied in 
active exercise or labour (Cic. Cal. 
I 5.), because it was necessary to lay 
I aside the cumbrous and embarrassing 



TUN ICQP ALLIUM. 



TURIBULUM. 



701 



toga upon such occasions ; and in this 
sense it is commonly used to charac- 
terize the lower or labouring classes 
(Hor. Ep. i. 7. 65.), whose daily 
occupations compelled them to wear 
a tunic only, without the toga. The 
illustrations s. Tunica, i. exhibit 
a figure in the tunic alone contrasted 
with another in the tunic and toga ; 
and thus distinctly illustrate the diffe- 
rent images called to the mind by the 
several terms tuuicatus and togatus. 

TUNICOPALL'IUM. A garment 
possessing the double properties of 
the tunica and pallium, not a written 
term used in the language, but a word 
invented by the grammarians as a 
definition of the peculiar properties 
of the garment termed Palla. Non. 
5. Palla, p. 537. Serv. ad Virg. 
sEn. i. 648. 

TUNIC'ULA {x*Twi<ncos, x iT ">~ 
viov). In a general sense diminutive 
of Tunica ; the diminutive some- 
times indicating inferiority of quality 
(Plaut. Rud. ii. 6. 53. Varro ap. 
Xon. s. Tractus, p. 228.) ; some- 
times smallnessof size( Turpi!. ap.lS on. 
s. Strophium, p. 538.) ; but in a spe- 
cial sense, an under-garment such as 
we should call a shirt or a chemise ac- 
cording to the sex by which it was 
worn. It was put on next the skin, 
and by women was fastened under 
the bosom by a girdle. In Alciphron 
{Ep. i. 39. ) a Greek courtesan relates 
a contest between 
two of her class as 
to which of them 
possessed the finest- 
formed back. To 
decide the question 
one unties her gir- 
dle, and, lifting up 
her chemise (x tT w- 
viov), turns her head 
back to examine and 
admire herself be- 
hind ; the other 
takes off her che- 
mise, and then 
stood completely 
naked. These cha- 



racteristics are distinctly exhibited in 
the illustration from a statue in the Mu- 
seum at Naples, which w ithout doubt 
commemorates the first of these two 
rivals in the act of lifting up her che- 
mise. The Romans applied the word 
tunicula both to the male and female 
vest ; but the Greeks, in the opinion 
of some scholars, made a distinction, 
using x iTUlV ' iaK0 ^ in regard to men 
(Demosth. in Mid . p. 370. Schreffer), 
and x'Tw^tof with reference to women. 
(Lucian. Lexiph. 25. Eustath. .//. 
xviii. 416.) But this rule, if true, 
does not appear to have been strictly 
observed. In the above passage from 
Alciphron, for instance, x ir<i)Vl0V is 
applied to female apparel, but to 
male attire by the same author (iii. 
57.) ; while Athemeus (xiii. 59.) uses 
Xiraivianos for females ; and .Elian 
the same word for both (women, 
V. H. vii. 9. ; men, ib. xiii. 36.). 

TURBO {$4fi&il;,p6[iPos,(rTp6fifhs). 
A boy's zvhipping-top (Virg. JEn. vii. 
378. Tibull. i. 5. 3.), similar to those 
now in use. 

2. The -whorl or tokirl of a spindle 
(Catull. 64. 315. Auct. Consol. ad 
Liv. 164.), technically termed Ver- 
TICILLUM ; which see.' 

TURIBULUM or THURIB'U- 
LUM (6v/j.iarrjpiov). A censer, or 
vessel in which incense was burnt 
(Liv. xxix. 14.), as contradistin- 
guished from acerra, the box in which 
it was carried to the temple, and 




thence taken out to be put into the 



70 2 TURICREMUS. 



TURRIS. 



censer, or sprinkled upon the burning 
altar. It was often carried in the 
hand by a chain, and swung to and 
fro for the purpose of diffusing the 
odoriferous vapour along the streets 
(Curt. viii. 9. ) or through the temples 
(Virg. AZn. xi. 481.), in the same 
manner as still practised in the Roman 
Catholic churches. The illustration 
represents an original of bronze found 
at Pompeii. One of the three chains 
by which it was suspended from the 
hand is attached to the top of the lid, 
which would be raised a little, and 
the vapour thus permitted to escape, 
every time the vessel was swung 
backwards or forwards. 

TURICREMUS or THURIC- 
REM U S . On which incense is burnt ; 
as ara iuricrema (Lucret. ii. 353. 
Virg. JEn. iv. 453-), an altar for 
burning incense (wood-cut s. Ara, 
6.) ; focus turicremus (Ov. Her. ii. 
18.), a brazier for the same. Wood- 
cut s. Focus, '3. 

TURMA (1\y). A troop or com- 
pany of cavalry, originally consisting 
of thirty men and three officers [de- 
curiones). Varro, L. L. v. 91. 

TURRIC'ULA {iTvpytiiov). Dimi- 
nutive of Turris. Vitruv. x. 13. 6. 

2. A dice-box, formed in the shape 
of a tower (Mart. xiv. 16.); whence 
it is also termed pyrgus (Sidon. Ep. 
viii. 12.), from the Greek word 
meaning a tower. The precise differ- 
ence between the common dice-box, 
fritilhis, and the turricula, is not suffi- 
ciently ascertained, some thinking 
that the former term designated only j 
a box of circular form, like the ex- 
ample introduced at p. 302. ; and the 
latter one a box with square sides, of j 
which an example occurs in an old j 
almanack supposed to have been exe- j 
cuted in the time of Constantine , 
(Lambecc. Bibliothec. Cats. torn. 4. I 
Col. 1665.), where it is represented 
standing upon a table with a couple ] 
of dice by its side. But as the an- 
cient towers were made both circular 
and angular, the name would be 
equally applicable to either form. 



Other scholars have thence concluded 
that the turricula, though probably 
similar in form, was an entirely, dis- 
tinct instrument from the fritillus, and 
employed together with it as an addi- 
tional means of preventing unfairness 
at play. According to them it was 
fixed to the board {tabula), and the 
dice, instead of being cast directly 
j from the fritillus on to the board, 
, were thrown from it into the turruula, 
through which they fell on to the 
board, after acquiring additional rota- 
1 tion in their descent down its gradu- 
J ated sides. But this opinion is to be 
1 regarded as one collected from infer- 
| ential reasoning, rather than proved 
j bv positive evidence. 

'TURRTGER. Bearing towers, 
j See Turritus. 

TURRIS {rvpais, irvpyos). In a 
general sense, any very lofty building 
or pile of buildings ; whence the term 
is applied indiscriminately to objects 
of civil or military architecture, a 
palatial residence, or a fortified place. 
Liv. xxxiii. 48. Sail. Jug. 103. Suet. 
Nero, 38. Ov. A. Am. iii. 416. 

2. A tower of fortification, disposed 
at intervals in the walls of a city, 
station ary camp, or any other fortified 
enclosure. (Cic. Caes. Liv. &c. ) 
They were built both round and 
square, were run up to several stories 
high, with turrets {pinnce) on the top, 
loop-holes ( fenestra) on the face, and 
frequently a sally-port {fornix) be- 
low, and in general were situated 
at short distances from one another, 




so that an attacking party would be 
exposed to a discharge of missiles on 



TURRIS. 



rus. 



both flanks at the same moment. 
The illustration exhibits three towers, 
two round and one square, now stand- 
ing by the side of the Porta Asinaria, 
in the walls of Rome. 

3. Turris mobilis, or ambulatoria. 
A movable tower used in sieges, 
made of wood, covered with iron, 
raw hides, or stuffed mattresses, to 
break the force of the blows directed 
against it, and placed upon wheels, 
by means of which it could be driven 
close up to the enemy's Mails. It 
was divided into several stories or 
platforms, the lower one con- 
taining the battering-ram {anes), the 
upper ones, various kinds of draw- 
bridges and other contrivances for 
raising and lowering the besiegers on 
to the walls {pons, sambuca, tolleno\ 
the highest of all being filled 
with light troops who cleared the 
opposite ramparts of their defenders 
before the bridges were let down for 
the assault. Liv. xxi. II. Vitruv. x. 
13. Veg. Mil. iv. 17. 

4. A tower erected upon the deck 
of a ship of war, into which the troops 




ascended to annoy the crew of an 
enemy's vessel with their missiles, 
or to scale a fortress from the sea- 
board. (Liv. xxiv. 34. Ammian. xxi. 
12. 9 — 10.) The illustration is taken 
from a marble bas-relief. 

5. A tower fastened on the back 




: of an elephant, in which armed men 
I were stationed on the battle-field. 

(Liv. xxxvii. 40.) The illustration 
! is copied from an engraved gem. 

6. A particular kind of battle- 
j array, in which the army was dis- 
j posed in the figure of an oblong-square 
! column. Cato ap. Fest. s. Sena 

praeliari. Aul. Gell. x. 9. 

TURRI'TUS. Furnished with a 

tower or towers ; of city walls (Ov. 

Am. iii. 8. 47.), Turris, 2. ; of ships 

(Virg. AZn. viii. 693), Turris, 4. ; 

of elephants (Plin. H. A', viii. 7. 7.), 

Turris, 5. 
FURUN'DA. A pellet, made of 

bran, meal, paste, &c, for fattening 

poultry. Cato, R. R. 89. Varro, 

R. R.'\\\. 9. 20. 

2. A sort of cake, made of similar 
materials to the last, as an offering 
to the gods. Varro ap. Non. s. 7: 

p. 55 2 - . ; 

3. A strip or roll of lint inserted 
into a wound. Cato, R. R. clvii. 14. 

TUS or THUS {Xiftavwros. 
Frankincense ; an odoriferous gum 
from a tree of Arabian growth, much 
employed by the ancients at the 
sacrifice, in the service of the tem- 
ples, and other ceremonials. It \va- 
carried to the altar by a minister 
{camillas), in a small square case 
(acerra), from which a few grains 
were taken out, and sprinkled over 
the burning altar (ara turicremd) ; 
or it was made up into pastiles, which 




I were carried in a deep dish (calinns), 
! and thence dropped upon a lighted 



TUTELA. 



TYM PA NIS TA . 



brazier {focus turicremus), both which 
customs are exemplified by the 
illustration, from an ancient fresco 
painting; or, finally, it was kin- 
dled in a censer (turibulum), which 
was carried in the hand, and swung 
backwards and forwards to give out 
and diffuse its vapour, in the manner 
now practised at the ceremonies of 
the Roman Catholic Church. Hor. 
Od. iii. 8. 2. Pers. v. 120. Ov. Met. 
vii. 589. Id. Pont. ii. I. 32. 

TUTE'LA. The tutelary genius 
of a ship, under whose protection the 
crew and vessel were supposed to 
sail (Ov. Trist. i. 10. I. Pet. Sat. 
105. 4.), as the vessels of Catholic 
countries are now put under the 
guardianship of some patron saint. 
The tutela, or image of the protecting 
genius, was placed in the after-part 
of the ship (Sil. Ital. xiv. 410.); 
whereas the insigne was the figure- 
head upon the prow. It sometimes 
consisted of a small statue on the 
deck (Pet. Sat. 108. 13.); sometimes 
of a portrait, either carved or painted 
upon the quarter (Sen. Ep. 76.); as 
in the annexed example, from a 





marble bas-relief, in which it appears 
on a small square projection under the 
tower. The substructions of the island j 
in the Tiber, designed to represent the 
ship that brought the serpent of ^Escu- 
lapiusfrom Epidaurus to Rome, afford 
another instance of the same practice 
in the masonry forming the quarters 
of the vessel, on which a bust of iEscu- 
lapius is carved for a tutela, and may 
be seen, when the waters are low. 



j under the garden-wall of the convent 
of "Saint Bartholomew, or in an en- 
graving of Gamucci (Antichita di 
\ Roma, p. 174. Venez. 1588.). 

TUTULA'TUS. In a general 
sense, wearing the hair dressed in a 
conical form (Tutulus, 1.); or the 
j priest's cap of the same name (Tu- 
tulus, 2.), whence, in a special 
• sense, a priest who wore it. Varro, 
I L. Z. vii. 44. Ennius ap. Varro, /. c. 

TUT'ULUS. A particular style 
; of head-dress, originally confined to 

the Flaminica, or 
S wife of the Flamen 
: Dialis (Festus s.v. ), 
but subsequently 
adopted by other 
females. (Inscript. 
ap. Grut. 579. 5.) 
It was formed by 
piling up the hair 
with the aid of a " \ 
purple ribbon, to a considerable 
height on the top of the head, so as 
to have the appearance of a goal 
{meta, Varro, L. L. vii. 44. Festus 
s. v.), as in the illustration, from 
a painting of Herculaneum. This 
fashion is also alluded to in the 
expressions, suggestum comce (Stat. 
Sylv. i. 2. 114.); and tot compagibus 
altum ALdificat caput (Juv. vi. 502.). 

2. A high cap, made of wool, in 
the form of a cone or goal (meta, 
Serv. ad Virg. 
jEu. ii. 683. ), 
but without 
the ol ive 
point (apex) 
at the top, 
which was 
worn by some 
orders of 
the priest- 
hood (Servius, /. c.) • like the an- 
nexed example, from a bronze medal, 
representing the Genius of Augustus 
performing sacrifice. 

TYMPANIS'TA (rv^aviariis). 
A man who plays the tympanum, 
or tambourine (Apul. Deo Socrat. 
p. 685. ), as exhibited by the annexed 




TYMPA NIS TRIA . 



TYMPANUM. 



705 



figure, from a mosaic by Dioscorides 




of Samos, discovered at Pompeii, re- 
presenting a concert by four mu- 
sicians ; a boy with the monaulos, a 
young female with the tibia pares, 
an elder one with the cymbala, and 
the present figure. 

TYMPANIS'TRIA (rvfiiravia- 
rpia). A female who plays the tym- 
panum, or tambourine (Sidon. Ep. 
i. 2. Inscript. ap. Donat. CI. 8. 
Xo. 1.), as exhibited by the annexed 




figure, from a painting of Pompeii. 

TYMPAN'IUM (TVjXTzdvLQv). 

Diminutive of Tympanum ; a pearl 
with one surface fiat and the other 
round (Plin. //. A r . ix. 44.), like a 
kettle-drum, from which resemblance 
it is believed that the name arose. 

TYMPANOT'RIBA {rvfivavarpl- 
firis). (Plaut. True. ii. 7. 60.) Same 
as TYMPANISTA ; both words con- 




veying a notion of contempt or ridi- 
cule, and indicating an effeminate 
man, like the priests of Cybele, who 
employed the tympanum at their fes- 
tivals, though an instrument other- 
wise more appropriate for females. 

TYMPANUM {rt^avov, k<jk- 
Xaifxa Pvpaoroi'). A tambourine ; con- 
sisting of a wooden hoop, covered 
on one side with hide, like a sieve 
(Isidor. Orig. iii. 21. 10. 
Eur. Bacch. 124.), and 
set round with small bells 
or jingles, like the an- 
nexed example, from an 
engraved gem. It was 
sounded by beating with 
the hand (Ov. Fast. iv. 
324. Lucret. ii. 618. Catull. 64. 261. 
wood-cut s. Tympanistria), or run- 
ning the forefinger round the edge 
(Suet. Aug. 61., wood-cut s. Tympa- 
nista), and sometimes also with a 
stick, as is stated by Isidorus (/. e.), 
and may be inferred from the joke of 
Phsedrus (iii. 20.) respecting the 
poor ass who suffered as much cud- 
gelling after death as during life, be- 
cause his skin was used to cover a 
tympanum. This instrument is dis- 
tinguished from the larger and more 
ponderous kettle-drum by the epithet 
leve (Catull. 63. 6.) or inane (Ov. 
Met. iii. 533.) ; and it is clear, from 
its frequent occurrence in the works of 
art representing the ceremonials of 
Bacchus and Cybele, that it, and not 
the drum, is intended when the term 
is used with reference to the wor- 
ship of those deities. 

2. The same word is supposed to 
have likewise designated an instru- 
ment like our kettle-drum, with one 
flat surface of skin strained over a 
metal basing, because a pearl, with 
one surface flat and the other round, 
was designated by a diminutive form 
of the same word, tympanium; and 
Apollodorus (Bib/, i. 9. 7.) describes 
a contrivance employed by Salmoneus 
to produce a loud noise, like thunder, 
which closely resembles the kettle- 
drum, being formed by a copper 
2 Y 



706 



TYMPANUM. 



kettle (lebes), with a skin strained j 
over its rims. If such a notion be 
correct, it is probably this instrument I 
which Justin intends to particularize j 
(xli. 2.), as employed by the Par- 
thians to give the signal of battle ; for 
they also employed the long drum 
(symp/ionia) upon similar occasions. 
Plaut. Crass. 23. 

3. A wheel made of solid wood 




without spokes {radii), such as was 
used for wagons {plaustrd), as ex- 
hibited by the annexed example, 
from a Roman bas-relief. Virg. 
Georg. ii. 444. 

4. Tynpanum dentatum, A wheel 
of solid wood, with teeth or 
cogs round its edges. Vitruv. x. 
5- 

5. A tread-tvheel for raising heavy 
weights, worked by human labour. 
(Lucret. iv. 907.) The illustration 
is from a marble preserved at Capua, 
with an inscription commemorating 
the building or repairing the theatre 
of the ancient city. It represents the 
method adopted by the Roman archi- 
tects for raising a column. The head 
of the shaft is encased in ropes, 




which pass through a block sus- 
pended from the top of a triangle or 
shears {vara, Vitruv. x. 13. 2.), like 
those employed for erecting masts, and 



they raise the pillar by twining them- 
selves round the wheel as it revolves 
under the weight of the men upon it. 
The capital is seen 011 the ground ready 
to be put into its place when the 
column has been erected. The ex- 
ecution is rough and imperfect in 
details, and the wheel is a radiated 
one {rota), instead of a solid tyjnpa- 
num, which may have been intention- 
ally designed by the artist, in order 
to exhibit the men at work ; but the 
relic is valuable, as it explains an 
operation in ancient mechanics which 
has been regarded as extremely diffi- 
cult to understand ; — how the enor- 
mous columns of one solid block of 
marble could be raised, when they 
were placed at close intervals, often 
not more than 2\ diameters apart, as 
in the portico of the Pantheon, for 
instance, where the contiguity to 
each other does not seem to afford 
space for the requisite machinery. 

6. A solid tread-wheel for raising 
water from ponds or stagnant pools, 
where there is no current to move 
the wheel. Several of these contriv- 
ances are described by Vitruvius x. 
4. The simplest resembled the plan 
of the common water-wheel, de- 
scribed and illustrated s. Rota, 4., 
except that the wheel itself was solid, 
and the motive power given by the 
tread of men, instead of the action 
of a current. Another contrivance 
of a more complicated character con- 
sisted of a wheel furnished with a 
certain number of apertures {aper- 
tures), instead of buckets or scoops 
{modioli, haustra), on the circum- 
ference of the drum, through which 
the water entered, as the wheel was 
worked round by the labourers upon 
it, and fell upon boards {tabulce), 
radiating in the interior of the wheel 
from its circumference to the centre 
of the axle. This was formed out of 
a hollow cylinder, and had likewise 
a number of cavities {columbaria) in 
its circumference, through which the 
water penetrated the cylinder, and 
was thence discharged from its ex- 



TYROPATINA. 



UMBILICUS, 707 



tremity into the receiving trough 
{labrum ligneum) and the channel [ca- 
nalis) which conducted it through 
the land. Lastly, when the water 
to be raised was situated at a great 
depth from the surface where the 
tympanum-was, placed, a double chain, 
furnished with buckets, like our chain 
pumps, was attached to the axle, so 
that one set were let down and the j 
other drawn up by the revolutions of 
the machine, each bucket, as it turned • 
over the centre, emptying itself into a , 
receiver constructed for the purpose, j 
7. A flat and naked triangular j 
face, marked A in the annexed ex- j 



(Mart. xiv. 140.), but respecting 
which nothing more characteristic is 
known. 

UM BELLA and UMBRA'CU- 
LUM ((T/fidSetof). A parasol (Mart, 
xiv. 28. ); and an umbrella (Juv. ix. 
50. ), made, like our own, to open and 
shut (Aristoph. Eq. 1348.) by being 
strained upon a number of converg- 





ample, included within the converg- 
ing and horizontal cornices which 
terminate the gable end of a building 
(Vitruv. iii. 5. 12. and 13.); so termed 
from its resemblance to the skin 
strained over a tambourine ot a 
drum-head. 

8. The panel of a door (Vitruv. 
iv. 6. 4. and 5.); so termed from a 
similar resemblance to the last men- 
tioned. SeejANUA. 

9. A large flat salver, or plate with 
raised margins, like a tambourine. 
Plin. H. N. xxxiii. 52. 

TYROPATINA. A large fiat 
cake made of cheese and honey 
(Apic. vii. 11.); a spurious word, 
from the Greek, rvpos, cheese, and 
the Latin patina. 

TYROTARPCHUS. A dish 
composed of salted fish (Greek rapt- 
Xos), cheese (Greek rvpos), and hard 
egg & > seasoned with pepper and 
spice, and stewed in wine and oil. 
Apic. iv. 2. Cic. Atl. iv. 8. Id. 
Fain. ix. 16. 



U'DO {ohl&v). A kind of sock 
made of goat -skin with the fur on 



ing ribs {virgce, Ov. A. Am. ii. 209.), 
and usually carried by a female slave 
over her mistress (Mart. xi. 73.), in 
the manner shown by the illustra- 
tion, from a fictile vase. 

UMBILPCUS {bfjL(paK6s). Lite- 
rally, the navel ; whence applied to 
other objects which have some ex- 
ternal resemblance to the appearance 
of the navel, or to its position as the 
central part of the body ; as — 

1. The extreme end of the cylin- 
der upon which an ancient book was 
rolled, and which, with the sheet 
folded round it, presents considerable 
resemblance to the human navel, as 
exhibited by 
the extremity 
on the left 
side of the an- 
nexed exam- 
ple, represent- 
ing a book 
half unrolled, 
from a painting at Herculaneum. 
Many writers consider that the u?n - 
bilici and cornua were the same 
thing, only designated by different 
terms ; but there is good reason 
for believing that they were not pre- 
cisely so. When a sheet was com- 
pletely filled with writing, a stick 
was attached to the end of the sheet. 




7o8 



UMBO. 



VMBRM. 



round which the entire length was 
rolled. In the MSS. found at Her- 
culaneum, these sticks do not project 
beyond the edges of the sheet on 
either side, but have their extremities 
in the same plane with it, as repre- 
sented by the illustration. In ordi- 
nary libraries, or for volumes in- 
tended to be placed in a capsa, where 
any addition to the length would 
have been inconvenient, it seems 
probable that the roll was complete 
in this state, with the exception of 
merely having the end of the stick 
painted (Mart. iii. 2. v. 6.), which 
suggested the resemblance to a navel, 
and accurately received the name of 
umbilicus. But persons who were 
particular about the ornamental ap- 
pearance of their books, added bosses 
\bullce) to the ends of the stick, which 
projected beyond the roll on each i 
side, like the bursting horns of a 
heifer ; then the umbilici so adorned 
would receive the name of cotmua s j 
Thus the two terms may be con- 
sidered to a certain extent, or in some I 
senses, as convertible ones ; especially 
where they are used figuratively to i 
designate the end of a book (Hor. 
Epod. xiv. 6. Mart. iv. 91. xi. 107.), \ 
where the cylinder, whose extremities 
they formed, was affixed. 

2. The pin or index in the centre 
of a sun-dial (Plin. H. X. vi. 39.); ,' 
otherwise termed Gnomon, which see. j 

UMBO (a/jL^au). In a general 
sense, applied to anything rising or 
projecting from another surface, more 
especially when such projection pos- 
sesses a round or conical figure ; whence 
the following distinctive meanings : 

I. (6fA.cpa\6s.) A knob or boss 
projecting from the centre of a shield : 
[Yixg. JEn. ii.544.), 
which served to 
turn off missiles dis- 
charged from a dis- 
tance, or as a sort of 
offensive weapon at 
close quarters (Li v. 
iv. 19.) ; but the 
term is also fre- ; 




quently used by a figure of speech for 
the entire shield itself. The example 
is from the Vatican Virgil. 

2. A prominent bunch of folds in 
front of the chest, produced by draw- 
ing up a portion of the left side of the 
toga from the feet, and fixing it in 
place by turning it over the belt 
formed across the breast by the upper 
sinus, where it forms 
a thick round mafs 
of folds, standing 
out from the rest of 
the drapery like the 
boss from a shield, 
as exhibited by the 
part marked 5. in 
the annexed illus- ™ I 
tration from a statue . 
of the Villa Pamfili 
at Rome. Tertull. 
Pall. 5. Pers.v. 33.; 
but in the last 
passage the teim is 
applied in a figurative 
toga itself. 

3. The kerb stone, which forms a 
raised margin to the trottoir or foot- 
pavement, on each side of a road or 
street, as shown bv the annexed illus- 





tration representing part of the road- 
way near the entrance to Pompeii 
from Herculaneum. 

UMBRA'CULUM. Same as 
Umbella. 

UMBRAE. The shades or spirits 
of departed beings in the nether 
world. The ancients believed that 
the spirit of the human body de- 
scended into subterranean regions 
after life was extinct, and there re- 
tained the same figure and appearance 
it had possessed during life, so as to 



UNCI A. 



UNGUENT ARI US. 




be recognizable by the relatives and 
friends who followed it, but without 
any real corporeal substance ; or, in 
other words, that it was visible but 
impalpable. Those who had passed 
a life of virtue were 
removed to Elysium, 
where they continued 
in the enjoyment of 
perpetual youth, par- 
taking the intercourse 
of such friends and 
relatives as had ob- 
tained the same lot ; 
those, on the contrary, 
who had lived in vice 
were removed to Tar- 
tarus, where they wore 
out an existence of perpetual punish- 
ment. (Serv. adVixg. /En. iv. 654. 
Tibull. hi. 2. 9. Lucret. i. 120. Hor. 
Od. iv. 7. 14.) Hence the poets and 
artists always invest the shades with 
a corporeal form, and with the same 
appearances which the body presented 
duringlife, as isexemplifiedby the illus- 
tration, which represents the shade of 
Deiphobus, in the Vatican Virgil, mu- 
tilated as he was by the Greeks at the 
taking of Troy. 

UN'CIA {ovyicla). ounce ; the 
twelfth part of any whole ; hence a 
copper coin of 
the Romans, \ 
equal in value 
to one-twelfth 

of an As. (Varro, L. L.x. 171.) Its 
value was denoted by a single ball, as 
in the annexed example, from an origi- 
nal, reduced to one-third of the real size. 

UN C TOR. (Quint, xi. 3. 26. 
Mart. vii. 32.) Same as Aliptes ; 
which see. 

UNCTG'RIU M. A chamber 
where the unguents were kept, in a 
set of baths, and in which the bathers 
were anointed. (Plin. Ep. ii. 17. 11., 
but the reading is doubtful.) See 

ELzEOTHESIUM. 

UNCUS (uyKos). Literally, abend 
or curve ; whence applied to objects 
formed in that figure ; especially a 
hook with which the executioner 



dragged up the corpse of a malefactor 
from the subterranean dungeon (car- 

, nificind) in which he was put to 
death, on to the Gemonian stairs, 

( or into the Tiber. Cic. R. Perd. 5. 

' Juv. x. 66. Ov. Ibis. 166. 

2. The fluke of an anchor. Val. 
j Flacc. ii. 428. Ancora. Dens, i. 

3. A surgical instrument employed 
by accoucheurs. Cels. vii. 29. 

UNGUENTA'RIUS {fivpo^x-qs). 

A maker and vendor of scents and 
! unguents. Cic. Ofl". i. 42. Hor. Sat. 

ii. 3. 228. 
j 2. Uuguentaria taberua (nvpo- 
j ir(a\iov). A perfumer's shop. Varro, 
; L. L. viii. 55. Suet. Aug. 4. 

3. Ungnentarium sc. vas. {KtjkvOos 
i /jLVfj-qpa, Poll. vi. 105. vii. 1 77. Aris- 

toph. Fr. 8. ) A scent-bottle or vase 
' for holding fine unguents and perfumes 

(Plin. H. N. xxxvi. 12.). They were 
j small narrow-necked vessels made 
' of alabaster, pietre dure, baked clay, 

and glass, of which latter material 
I several specimens in diffei-ent forms 
j and sizes are exhibited by the illus- 
1 trations, all from originals preserved 





in the Museum at Naples. It was 
customary to bury these in the tombs 
with the dead, and for that purpose 
the Greeks frequently decorated them 
with some illustrative design (Aris- 
toph. Eccl. 996.), of which practice 
numerous examples have been dis- 
covered in their original places of 
deposit. It may also be mentioned 
that vessels of this kind have long 
been erroneously termed " lachryma- 
tories," or tear -bottles, a fanciful 



JlO URCEOLUS. 



URNARIUM. 



notion which originated with some of 
the modern Italian antiquaries, but 
without any authority to support it. 

UR'CEOLUS. (Juv. hi. 203.) 
Diminutive of 

URCEUS. A vessel with handles 
(Mart. xiv. 106.), generally made of 
earthenware (Hor. A. P. 21. Mart. 
/. c. ), and chiefly used as an ewer for 
filling other vessels with water. (Vario 
ap. Non. s. Trulleum, p. 547. 
Paul. Dig. 33. 7. 18.) It is probably 
allied to upx a an d Qrcha ; but there 
are no sufficient data by which to de- 
termine its precise form. 

URINA'TOR (KoAi^jSTj-Hjy, apvtv- 
Typ). A diver, trained to swim under 
water, for the purpose of recovering 
articles lost by shipwreck ; sometimes 
taken on board ships to assist in rais- 
ing the anchor, or to damage the hull 
of an enemy's vessel in action. Liv. 
xhv. 10. Callistrat. Dig. 14. 2. 4. 
Compare Manil. v. 431 — 435. Lucan. 
ill- 697 — 708. 

UR'NA {icd\iris). An um; a 
narrow-necked, full-bodied pitcher, in 
which water was ^ 
fetched from the 
fountain or river 
(Juv. i. 164. 
Senec. H. F. 
757. ), whence 
usually ascribed 
by poets and 
artists as an ap- 
propriate em- 
blem to the river 
gods. (Virg. AL11. vii. 792. Sil. Ital. 
i. 407. ) It was made of earthenware 
or metal, and carried on the top of 
the head (Ov. Fast. iii. 14.), or on 
the shoulder (Prop. iv. II. 28.), in 
the manner still commonly practised 
by the women of Italy and Egypt ; 
for which purpose it was furnished 
with three handles, as exhibited by 
the annexed engraving from an ori- 
ginal of earthenware, — two at the 
sides, to assist in raising it, and one 
at the neck, by which it was held 
on the shoulder, or kept steady when 
tilted for pouring out. 





j 2. A vessel of similar form and 
i character, employed as a cinerary urn, 
j in which the ashes and 
dust collected from the 
funeral pile were en- 
I closed, when deposited 
in the sepulchral chamber, 
j (Ov. Trist. iii. 3. 65. Id. 
; Her. xi. 124. Suet. Cal. 

15. Wood-cut s. Sepul- 
! CRUM, 2.) They were made of baked 
i earth, alabaster, marble, or glass; of 
j which last material the annexed ex- 
ample affords a specimen, from an 
1 original discovered at Pompeii, half 
j filled with a liquid in which the frag- 
j ments of bones and ashes are still 
perceivable. 

3. A vessel of similar form and 
j character, employed for drawing lots 

at the Comitia, &c. (Val. Max. vi. 3. 

j 4. Cic. Verr. ii. 2. 1 7. ), used for col- 
lecting the votes or sentence pro- 

I nounced by the judges in a court of 
law, &c. (Cic. Q. Fr. ii. 6. Hor. 

j Sat. ii. I. 47. Ov. Met. xv. 44.) 

i The lots or tablets were thrown into 

I the vessel filled with water, and then 
shaken {urna versatur. Hor. Od. ii. 
3. 26. Compare Virg. ALn. vi. 432. 
Stat. Sylv. ii. 1.219.), and as the neck 
of the urn was narrow, 
only a single lot could 
come to the surface, or be 
drawn out at a time. The 
illustration, which, it will 
be observed, exhibits the same cha- 
racteristic features in regard to form 
as the other examples, is copied from 
the device on a coin of the Cassian 
family. 

4. A liquid measure containing 
four congii or half an amphora ; also 
the vessel which holds that quantity, 
probably possessing the same charac- 
teristic forms as those described above. 
Cato, R. R. x. and xiii. Juv. xv. 25. 

URNA'RIUM. A square slab or 
table in a Roman kitchen and in the 
baths, on which the water-cans and 
pitchers {urna) were disposed. (Var- 
ro, L. L. v. 126. Id. ap. Non. s. v. 
p. 544. ) In some, parts of modern 



URNULA. 



UTER. 



711 



Italy, a similar convenience now goes 
by the name of seeehiario, from secckia, 
a water-pail, and is usually formed of 
marble, with a hole through which 
the drippings and spilled water drain 
off, doubtless corresponding with 
the Roman urnarittm, and our kitchen 
sink. 

UR'NULA (xaXirtoi/). Diminutive 
of Urna. Cic. Par. i. 3. Spart. Sev. 24. 

URPEX. See Irpex. 

URVUMorURBUM. The curved 
part of a plough, the plough-tail ; 
more commonly termed Bura. Var- 
ro, L. L. v. 135. Pompon. Dig. 50. 
16. 239. 

USTOR (u€KpoKav(TTr}s). One of 
the undertaker's men, whose business 
it was to lay out a corpse upon the 
pyre, and burn it (Mart. iii. 93.); 
usually spoken of in terms of detrac- 




tion, with such epithets as semirasus 
(Catull. 59. 4.), or sordidics- (Lucan. 
viii. 731.) ; thus indicating that the 
employment was looked upon as mean 
and derogatory-. The illustration re- 
presents a slave arranging the legs of 
a corpse upon the pyre, before setting 
light to it, from a marble bas-relief. 

USTRI'NA and -UM {natarpa). A 
place where the dead body was burnt, 
apart from the sepulchre in which the 
ashes were to be deposited, as contra- 
distinguished from Bustum, which 
was contained within the sepulchral 
enclosure. (Festus s. Bustum. In- 
script. ap. Mur. 1345. 12. ap. Orelli. 
43^4) 4385-) Thus it would appear 
that the ustrinum was a public burn- 
ing-ground, to which the bodies of 



persons not sufficiently wealthy to 
acquire a piece of land for the pur- 
pose contiguous to their own sepul- 
chres were carried by their surviving 
relatives, and burnt, their ashes being 
afterwards transported to the family 
tomb. In such cases a convenience 
of this nature was absolutely neces- 
sary, as the law prohibited the light- 
ing of a pyre within a certain distance 
of another man's monument. Con- 
siderable remains are still extant of a 
grand burning place on the Appian 
Way, about five miles from Rome. 
It was surrounded on two sides by 
a high wall of masonry, constructed 
in the Etruscan style of peperino 
stone, and nagged with the same 
material, which possesses particular 
powers for resisting the action of fire. 
One Avail is 200 feet in length, the 
■ other 350. On the side towards the 
; street, there were spacious porticos 
for the shelter of spectators, or per- 
sons attending the funeral procession ; 
and at the back, several apartments 
! for those who had the custody of the 
place, as well as magazines for storing 
wood, and for keeping the various 
instruments and utensils employed at 
, the conflagration. 

U'TER (cmtkos). A large bag made 
of goat-skin, pig-skin, or ox-hide, 
sewed up at one side, and having the 
sutures carefully stopped with a coat- 
ing of pitch, so as to adapt it for 
; containing liquids, or to be inflated 
with air. Plin. H. N. xxviii. 73. Ov. 
Am. iii. 12. 29. Caes. B. C. i. 48. 
2. Uter vini. A wine-skin (Plaut. 




True. v. 11.); mostly employed for 



UTRARII. 



VALLUS. 



transporting wine in body from place 
to place, but in very early times the 
wine was actually brought into the 
dining-room in a skin (Varro ap. 
Non. s. Cupa, p. 544. ), and the cups 
were filled out of it, in the manner 
shown by the illustration, from a 
painting at Pompeii, which represents 
a female pouring wine out of a skin 
into a cantharus held by Silenus. 

3. Uterunctus. A goat-skin, greased 
on the outside and inflated with air, 
which the rural population of Attica 
used to dance or jump upon, for a 



of wood, box, elm, oak, ash, &c, and 
sometimes, perhaps, of leather, as the 
Greek name KoAeos (Latin culeus) 



rustic sport, on the second day of the 
festival of Bacchus, termed Ascolia 
('AovccoAia), as represented by the 
annexed illustration from an engraved 
gein. Virg. Georg. ii. 384. 

UTRA'RII. Water carriers, who 
supplied an army on its march with 
water, which they carried in skins 
(Utres). Liv. xliv. 33. 

UTRICULA'RIUS (a<TKa{,\ V s). 
(Suet. Nero, 54.) A bag-piper. Same 
as ASCAULES, under which term an 
illustration is given. 
. UTRIC'ULUS (ao-KiSiov). Dimi- 
nutive of Uter. Celsus, ii. 17. 



VACERRA. A post for fastening 
horses to (Festus s. v.) ; whence, in 
the plural, a strong fence made of up- 
rights and cross-bars to confine cattle ; 
an ox fence. Columell. vi. 19. 2. ix. 
I. 3. ix. I. 9. 

VAGI'NA {^<poe-t]KT], KoAeSs). The 
scabbard of a sword (Cic. Virg. Hor. 
Ov. ) ; usually made of different kinds 



E 




seems to imply. The illustration ex- 
hibits an original sword found at 
Pompeii, in its scabbard, which con- 
sists of a wooden case, covered with 
a thin plate of metal, studded with 
knobs of bronze. 

VALLA'TUS. Protected by a 
j vallum. Hirt. B. Alex. 27. 

VALLUM (xapaKco/xa). A pali- 
| sade, made by the stocks of young 
! trees with their lateral branches short - 
j ened and sharpened at the point, so 
! as to form a sort of chevaux de /rise ; 
I usually planted by the Greeks and 
j Romans on the outer edge of the 
mound of earth (agger) thrown up as 
a rampart round their camps (Liv. 
i xxxiii. 5. Polyb. xvii. 1. 1.) • whence 
the term is frequently used to desig- 
nate collectively the mound of earth 
with the palisade upon it. In the 
j illustration at p. 16., from Trajan's 
column, the vallum is formed by mere 
j straight poles sharpened at the top, 
j which must be regarded as a caprice 
of the artist, or else the ancient prac- 
tice had been departed from at the 
! period when those sculptures were 
designed. 

VALLUS (xapa£» Kaua't). A single 
stake with short-pointed branches left 
j on its stock, employed as a prop ; but 
I more especially for forming the <: 
or chevaux de /rise, upon the mound of 
a camp, several of which, ready pre- 
i pared, were carried by every Roman 
i soldier in the field. Cic. Tusc. ii. 1 7. 
1 Liv. lvii. Epit. 

2. Same as Vallum. Cses. B. C. 
j iii. 63. 

3. A large wooden fork in the 
j shape of the letter V, set,with teeth, 
i and attached to the front of a truck 
j (vehiculum), which was employed as 

; a reaping-machine by the people of 
Gaul. It was driven into the stand- 



VALVJE. 



VANNUS, 



7*3 



ing com by a single ox, harnessed to 
a pair of shafts [aniites) at the back, 
so that it nicked off the ears between 
the forks, and collected them in the 
truck as it advanced. Plin. H. N. 
xviii. 72. Compare Pallad. vii. 2. 2. 

4. The tooth of a comb. Ov. Am. 
i. 14, 15. Pectex. 

5. (\tKvdpiov.) In the feminine 
gender, diminutive of VANNUS ; a 
smalhvinnowing-basket. Varro, J?. R. 
i. 23. 5. Ib. 52. 2. 

VALY/E (dvpai SiaTrpiaroi). A 
door or window-shutter which folds 
up (Cic. Div. i. 34. Juv. iv. 63. Plin. 
Ep. ii. 17. 5.); that is, when made 
in several leaves and joints, so that 
when opened they fold back one 




behind the other, like a screen, or the 
shutters of a modern window, as 
shown by the annexed example, from 
a painting of Pompeii, in which the 
door is formed of four pieces, two for 
each leaf. (Varro ap. Serv. <7^Virg. 

i. 449. valves, qzicc revolvuntur, 
et se velant. Isidor. 0?'/g. xv. 7. 4.) 
In one of the houses at Pompeii a 
door of the same description, in four 
parts, was placed between the Atrium 
and Peristylium, as has been ascer- 
tained from the marks left by it on 
the threshold. Mus. Borb. vii. Tav. 
A. B. Scavi, p. 7. 

VALVA'TUS. Having doors or 
window-shutters, comprised in several 
pieces, which fold up behind each 
other in the manner explained and 
illustrated by the last example. Vi- 
truv. iv. 6. 5. Id. vi. 3. 10. Varro, 
L. L. viii. 29. 

VANGA. (Pallad. i. 43. 3.) A 
spade with a cross-bar above the. 



blade to lest the foot upon, in order 
that it might be driven deep into the 
ground ; still used in Italy, and re- 
taining the same name, " la vanga." 
It was also termed Bipalium, under 
which an illustration is given. 

VANNUS {kiKvov). Kwiunatving- 
van (Columell. ii. 21. 5. Serv. a^Virg. 
Georg. i. 166.) ; a large and shallow 
wicker-basket, employed for winnow- 
ing corn in still weather, for the 
operation could not be conducted 
with the pa/a lignea or the vcntilabrnm 
when there was no wind blowing. 
It is exhibited by the annexed ex- 



ample, 110111 a marble bas-relief, 
and resembles the van still used in 
Italy for the same purpose, which 
is applied in the following manner. 
When the basket has been filled with 
grain from the threshing-floor, the 
winnower, who holds it by the two 
handles, with one end against his 
belly, throws up the contents into the 
air by means of a jerk of his arms, 
and catches them again as they de- 
scend in the van, some of the looser 
and lighter particles of husk and re- 
fuse falling off at every toss, which 
process is continued with rapidity 
until the whole is perfectly cleansed. 
Still weather is required, in order that 
the grains may return into the basket, 
and not be blown over it with the 
chaff. 

2. Vannus mystica. The mystic 
van of Bacchus ; a basket of similar 
description to the 
last, in which the 
sacrificial utensils 
and first-fruit offer- 
ings were carried 
upon the head or 
shoulder in the ce- 
remonials of Bac- 
chus, as shown by 
the annexed figure 
from a bas-relief in 
terra-cotta (Soph. Fragm. 724. Virg. 




7 I 4 VAPORARIUM. 

Georg. i. 166. ). In the poetical 
and dignified diction of Virgil, the 
expression is used to designate the 
agricultural winnowing-van last de- 
scribed, which indicates that both 
objects were of similar character and 
materials. 

3. The Greek term also signifies a 
cradle, made out of a winnowing-van, 
in which the ancients used to deposit 
their infants, as an omen of future 
wealth and prosperity. (Schol. Vet. 
ad Callim. Jov. 48.) Jupiter and 
Mercury are said to have been thus 
cradled (Horn. Merc. 150. 254. Cai. 




lim. /. c.) ; and the annexed illustra- 
tion from a bas-relief in terra-cotta, 
represents the infant Bacchus in a cra- 
dle of this same character, which in the 
original composition is borne between 
a Faun and a Bacchante. 

VAPOR A'RIUM. A stove or 
furnace for heating apartments by 
flues (Cic. Q. Fr. iii. 1. 1.) ; same as 
Hypocausis, under which an ex- 
planation and illustration are given. 

VAPPA. Wine which has lost 
its flavour and become quite insipid, 
from having undergone excessive fer- 
mentation and subsequent exposure 
to the air (Plin.. H. N. xiv. 25. Hor. 
Sat. ii. 3. 144. ) ; whence the term is 
likewise used to designate a spend- 
thrift, who wastes his means in folly. 
Hor. Sat. I. I. 104. Plin. /. c. 

VA'RA (<TTa\is). A stake with a 
fork or crutch at the top, employed 
by huntsmen to set their nets upon, 
when they had to enclose a tract of 
country, in the manner represented 



VARA. 



by the annexed engraving from a 




! marble bas-relief. Lucan. iv. 439. 
, 2. (KiAAifias.) A horse ox trestle; 
\ formed by two or more uprights con- 
I verging from below to a point at the 
I top, so far as to form a frame within 
which any thing might be suspended 
j (Vitruv. x. 13. 2. ) ; or to make a 
j stand upon which a cross-piece (vibia) 
' might be supported (Cohimell. v. 9. 
2.), such as used by painters, plas- 
terers, paper-hangers, and carpenters 
for a sawing-jack which is represented 




by the annexed engraving from a 
painting found at Herculaneum. 

3. An andiroji, across which the 
logs of wood are laid for a wood fire, 
or a spit (veru) supported for roasting 
meat. (Riddle's English-Latin Dic- 
tionary.) There is no actual autho- 
rity extant for this usage of the word, 
but the annexed example, from an 
original of iron; discovered in a tomb 




at Paestum, proves that the ancients 
made use of andirons in the same 
manner as the moderns, while the 
form and use of the article corre- 
spond minutely with the other objects 
comprised under the same name. 
Two smaller specimens, believed to 
have been used for supporting a spit, 
have been excavated at Pompeii : 



VASC17S. 



VELA TUS. 



715 



ihey are made of bronze, and more 
ornamental in character, having the 
head of an animal as a termination 
to the extremity. Mus. Borb. x. 64. 

VASCUS. See Tibia, 4. 

VECTIA'RIUS. The labourer 
who works the capstan {sucula) by 
means of a capstan-bar {vectis), 
which forces down the press-beam 
{prelum) in a wine or oil-press {tor- 
cular). Vitruv. vi. 6. 3. 

VECTIS (|UoxAos). A strong and 
heavy pole or bar of wood or iron, 
employed for various purposes, as : 

1. A lever or hand-spike, for placing 
under machines, or objects of very 
great weight, to assist in moving and 
turning them. Caes. B. C. ii. 11. 

2. A crow-bar, for forcing open or 
beating down. Hor. Od. iii. 26. 7. 
Cic. Verr. ii. 4. 43. 

3. A bar for fastening a , door. 
Virg. sEn. vii. 609. 

4. A pole for carrying burdens. 
Claud, iv. Cons. Honor. 573. Wood- 
cut s. Ferculum, 2. 

5. A capstan-bar, by which the ! 
cylinder is turned. Vitruv. vi. 6. 3. 

VEHA or VEA. A rustic or 
provincial pronunciation of^ViA, Ca- 
to, R. R. i. 2. 14. 

VEHE'LA. Said to be another | 
form of Veha, an Qscan word for 
Plaustrum. Festus, s. v. Capitol. 
Maxim. 13. 

VEH'ES or VEHIS. A cart-load 
of anything, as of dung (Columell. ■ 
xi. 2. 13.) ; hay (Plin. H. N. xxxvi. 
2 4- § 3-) y wood (Cato ap. Chans, 
P- 55-)- 

VEHIC'ULUM (Sxwa). A ve- j 
hide ; as a general term, for any sort 
of contrivance by which things are I 
transported by land (Suet. Aug. 49. 
Cic. Pis. 25. ) or by water (Id. Ait. x. 
10.); but this last reading is doubt- 
ful. 

2. Vehiculum manibus actum. A 
go-cart, or invalids chair, drawn on 
or pushed forward by the hands of 
a slave. (Aurel. Med. i. 5. ii. 1.) 
Also termed Chiramaxium. 

3. A threshing-truck used in Gaul. 



Pallad. vi. 2. 2. See Vallum, 3., 
where the machine is described, 
j VELA'MEN. A general term 
for any loose covering or clothing, 
which, as it were, veils the person. 
Virg. Ov. Tac. &c. 

VELAMEN'TUM. Same as Ve- 
LAMEN. Senec. Cons, ad Marc. 
i5- 

2. Velamenta (iKe-r^pia). Objects 
borne in the hands by suppliants as 
a symbol of their condition ; amongst 
i which are included the olive-branch, 
I caduceus, and woollen fillets, &c. Liv. 

xxiv. 30. Tac. Hist. i. 66. Ov. Met. 
I xi. 278. 

VELA'RIUM. An awning spread 
over the uncovered part of a theatre 
or amphitheatre (Juv. iv. 124.), where 
the spectators sat, and which was 
otherwise open to the sky. It was 
made to draw by means of ropes and 
pullies fixed to a number of masts 
(wood cut s. Malus, 2. ), planted 
round the outside wall ; and it was 
not always drawn, but only on certain 
occasions, announced by an affiche 
or notice {album) chalked up in pro- 
minent parts of the town. Inscript. 
s. Sparsio. 

VELA'TUS. Veiled (Cic. N. D. 
ii. 3. Sen. Octav. 702. ) ; that is, wear- 
ing the loose outer drapery, or amictics, 
arranged over the head like a veil, in the 
mannerexhibitedbythetwofigureshere 
subjoined ; the left one from a bas-relief, 
the other from a painting of Pompeii. 
It was usual for both sexes to arrange 




:ir external drapery in this manner, 



7 l6 VELITES. 



VEL UM . 



more especially at religious cere- 
monies and when in mourning. 

2- Clothed or draped, in our sense 
cf dressed ; and applied indiscrimi- 
nately to both sexes and to every 
kind of dress, whether in the nature 
of an amictus or an indumentum ; as 
to the toga (Li v. iii. 26.), the tunica 
(Ov. Fast. iii. 645.), the stola {Hor. 
Sat. i. 2. 71.). 

3. Encircled round the brows with 
a chaplet (Ov. Pont. iv. 14. 55. Coro- 
na), riband (Id. Met. v. no. Vitta), 
woollen fillet (Liv. i. 32. Infula), &c. 

4. Hung with drapery {vela) or 
festoons (serta), as applied to streets, 
houses, temples, &c, which were 
thus decorated upon days of solemn 
festivity along the line of streets 
where a procession passed. Ov. Am. 
iii. 13. 12. 

5. Bearing symbols of supplication 
{velamenta) in the hands ; such as 
branches of olive, woollen bands, &c. 
Plaut. Amph. I. I. 104. Virg. JEn. 
xi. 101. Serviustftf 7 /. 

6. Velati, in the army, supernume- 
raries who accompanied the troops in 
order to fill up vacancies in the ranks 
occasioned by death or wounds. 
Amongst these were comprised the 
Accensi, Ferentarii, and Rorarii, who 
were all so termed, because they 
were merely draped in a tunic {velatus, 
2.), without any body armour or 
defensive weapons (Festus s. v. Id. 
s. Adscripticii), as exhibited by the 




annexed figure from the column of 
Trajan. 

VE'LITES {ypo<r<pofxdxoi). The 



skirmishers or light-armed infantry of 
the Roman armies, who did not form 
part of the regular legion, nor occupy 
a fixed position in the battle array, 
but fought in scattered parties amongst 
the cavalry or infantry, wherever 
their services were 
required. They 
had no body ar- 
mour beyond a 
skull-cap of leather, 
without a ridge- 
piece {galea, cudo), 
but were provided 
with a round shield 
{parma), a short 
Spanish %\vovd{gla- 
dius Hispaniensis), 
and several spears 
with light shafts 
and very long acu- 
minated blades {hasta velitaris), in- 
tended to be used as missiles, but not 
fitted for stationary combat. (Liv. 
xxxviii. 21. xxx. 33. Polyb. vi. 22.) 
The example, from the arch of Sep- 
timius Severus, combines all these 
peculiarities with the exception of 
the missile, an object frequently 
omitted in sculpture on account of 
the difficulty it presents in execution, 
and its unpicturesque effect ; but the 
character of its blade may be seen 
by referring to the illustration s. 
Hasta, 4. 

VE'LUM [l&rlov). The sail of a 
ship in general (Liv. Virg. Ov. ); 





but especially the large square sail, 
or mainsail, as contradistinguished 
from the foresail {dolon), the topsail 



VEL UM. 



7i; 



{supparum) , and others which bore a 
distinctive name from their forms or 
position on the vessel. (Stat. Sylv. 
iii. 2. 27. Virg. s£u. i. 106.) It was 
fixed to a yard {antenna) at the top, 
and formed out of square pieces of 
cloth sewed together, as represented 
by the illustration on the opposite 
page from the Vatican Virgil. 

2. In foul weather, or upon arrival 
in port, the yard was lowered half 
mast high, and the sail reefed or 
clewed up, in the manner represented 
by the annexed wood- cut, from a 



iii. 663. ), to unclew and let down tfo 




terra-cotta lamp ; which operations 
were respectively expressed by the 
phrases aemittere antennas (Hirt. B. 
Alex. 45.), to lower the yard; velum 
subducere, or antennis subnectere (Hirt. 
/. c. Ox. Met. xi. 483. ), to clew up 
the sail ; velum legere (Virg. Georg. i. 
373. ), to shorten sail. Compare Vi- 
truv. x. 3. 5. and 6. 

3. So, when the ship put out to 
sea with fair weather, the yard was 
raised up to the top of the mast, the 
clew- lines were loosened from the' 
yard, and the corners of the sail 
drawn down to the deck; as repre- 
sented in actual operation by the 
next wood-cut, from a sepulchral 
bas-relief at Pompeii; and expressed 
by such phrases as the following : vela 
facere (Cic. Tusc. iv. 4. ), to make 
all sail; vela pandere (lb. iv. 5.), to 
spread the sails; vela solvere and de- 
ducere (Virg. AZn. iv. 574. Ov. Met. 




sail from the yard. 

4. (TrapaTT€raa/j.a. ) A curtain sus- 
pended before the street-door of a 
house, to close the entrance when 
the door itself stood open (Suet. 
Claud. 10. Juv. vi. 228.); in the 
interior of a house instead of a door, 
or for the purpose of making a par- 
tition between diffe- 
rent apartments, or 
of dividing one large 
one into separate 
parts of smaller di- 
mensions (Plin. Ep. 
iv. 19. 3. ) ; before 
the image of a deity 
in the temples, which 
was only removed 
upon occasions of 
solemnity, as is still 
the practice in Ro- 
man Catholic churches (Apul. Met. 
xi. pp. 251. 257.); and as a wiudozu- 
curtain to be drawn, like our own, 
over the shutters {foriculce), to ex- 
clude the light more effectually (Juv. 
ix. 104. Mart. i. 35.). They were 
either made in one piece, to be drawn 
up from the ground, which is implied 
by the expression allevare velum (Sen. 
Ep. 80. ), to raise the curtain ; or in 
two breadths, to be opened in the 
centre, like the example, representing 
the entrance to Dido's palace in the 
Vatican Virgil, which was expressed 
by the phrase vela reducere (Apul. 
//. cc. ), to draw back the curtains. 

5. The drop-scene of a theatre. 
Ov. A. Am. i. 103. Prop. iv. 1. 15. 
Aul^ea, 4. 

6. The canvas awninsr stretche' 1 




7 i8 



VENABULUM. 



VENA TIO. 



over head in a theatre or amphi- 
theatre as a protection against the 
sun and weather. Plin. H. N. xix. 6. 
Lucret. iv. 73. Velarium. 

7. Like Velamen, a general term 
for any kind of covering or drapery, 
whether applied to persons (Cic. 
Cat. ii. 10.) or things. Id. Verr. ii. 
5- 12. 

VENA'BULUM. A hunting-spear 
(Cic. Fain. vii. I.); a powerful 
weapon, with a long and broad iron 
head (Mart. xiv. 31. Virg. JEn. iv. 
131.), generally of a lozenge shape, 
and sometimes furnished with a cross- 
tree {mora) to prevent the point from 
penetrating too far (Grat. Cyneg. 
108 — 1 10. ) The object itself is shown 
by the annexed wood-cut, from a 
fresco painting in the sepulchre of the 
Naspnian family on the Flaminian 
way, near Rome. It also exhibits 
a singular method adopted by the 
ancient huntsmen for entrapping wild 




VENA'TIO (6-qpa). A hunt, or I —the hunting-spear (venabulum), the 
hunting of wild beasts. (Cic. Sen. 16.) I bow (arcus), three hounds (canes 
The illustration, from a painting ex- ; venatici), one of which, on the right 
cavated in 1673 at the foot of the j side of the picture, is held back by a 
Ccelian hill (Bellori Sep. Nason. \ leash or a slip (copula, lorum), the hunt- 
No. 29. ), shows a wild-boar hunt, | er (equus venator), and seven huntsmen 
which, from the numerous represent- i (venatores), including the attendants, 
ations left of similar scenes, appears j 2. A fight of wild beasts with men 
to have been a very favourite sport j (Cic: Fdm. vii. 1. ), or with one another 
amongst the Romans. It likewise (Suet. Claud. 21.) ; both of which 
exhibits all the objects usually men- i were commonly exhibited as a game 
tioned in connexion with the sport \ in the Roman amphitheatre and cir- 



beasts by means ot a mirror set up 
over the front of a cage ; but the or- 
dinary manner of using the hunting- 




spear, which was rarely or never em- 
ployed as a missile, is also shown 
by the subsequent illustration. 



VENA TOR. 



VENTIL A BR UM. 7 1 9 



cus, and are exhibited by the illustra- 
tions annexed ; the one on the left 
hand representing a combat between 
a gladiator and wild beast, from a 
sepulchral bas-relief on a monument 



VENA'TOR (Oriparris, KvvriyeTT\s). 
A hunts?nan who follows the chase or 
the sport of killing wild animals, such 
as tigers, bulls, boars, deer, &c. , with 
dogs and spears, on foot or on horse- 
back (Cic. Tnsc. ii. 17. Hor. Od. i. 
I. 26.), as exhibited by the illus- 
tration annexed, from a painting 
at Pompeii, representing a hunts- 
man with his dog, and a boar at 
bay, wounded in the back by one 
spear, and pierced through the fore- 
head by another which is held by the 




huntsman at close quarters. 

2. {B^piofxaxris. ) A gladiator who 
fought in the amphitheatre with wild 
beasts instead of men (Apul. Met. iv. 
p. 72. Cassiodor. Var. Ep. v. 52.), 
as shown by the first wood-cut on 
this column ; more usually termed 
Bestiarius. 

3. Venator eqnus. A hunter, or 
horse trained for the chase. Stat. 
TJieb. ix. 685. Venatio, i. 



in the street of the tombs at Pompeii ; 
the other, a contest between a bear 
and a rhinoceros, from a terra-cotta 
lamp found amongst the ruins of 
Labicum. 





4. Venator canis. A hound trained 
for the chase. Virg. j£n. xii. 751. 
Venatio, i., and last wood-cut. 

VENA'TRIX (Kvvnyens). A 
huntress, who follows the chase with 
the bow and hounds (Virg. Alh. i. 
319.); more especially used to de- 




signate Diana, the goddess of the 
chase (Ov. Met. ii. 454. Juv. xiii. 80. ), 
who is represented in that character 
by the annexed figure, from a terra- 
cotta lamp. 

VENTIL A'B RUM (Opiva^). A 
winnoiving-fork ; employed for sepa- 
rating the grains of corn, beans, and 
other leguminous plants from the 
straw and stalks, when the crop was 
threshed out together with them , 
and, consequently, had been reaped 
in the common manner, with a sickle 
{falx), instead of having the ears or 
pods only nicked off from the standing 
plant by a comb {pec ten), or a hand- 
fork (merga), as was a frequent piac- 



72C VENTILATOR. 



VER EDA RIUS. 



tice with the ancient farmers. (Colu- 
mell. ii. io. 14. Compare ii. 20. 3 
■ — 5.) The instrument was a fork 
with three or four prongs, with which 
the labourer raked out the straw, and 
tossed it up to a considerable distance 
from him through the air, so that the 
breeze, which for the operation was 
required to be tolerably strong, would 
carry off the chaff and straw, while 
the heavier grain fell back upon the 
ground, and could be finally cleansed 
by a wooden shovel (pala lignea) or a 
winnowing-van {vanmis). The prac- 
tice is still pursued in Spain, where 
the instrument employed is designated 
by a similar name, aventador, which, 
like the Latin one, refers to the action 
of the wind, so necessary for its effi- 
cient use. Townsend's Itinerary, vol. 
3- P- 3*4- 

VENTILA'TOR. One who win- 
nows with the ventilabrum, as ex- 
plained in the last article. Columell. 
ii. 10. 15. 

2. A juggler, who tosses his balls 
into the air, as the winnower does his 
corn. Quint, x. 7. 11. 

VENTRA'LE (koi\i61*<jixos). A 
belly-band, formed by an oblong- 
square piece of 
cloth tied round 
the loins, and 
over the abdomen, 
as exhibited by 
the annexed figure, 
from a bas-relief 
upon a marble 
candelabrum. In 
the present in- 
stance, it is worn 
over the tunic, 
but its usual 
place was next the skin, either under- 
neath the tunic, or upon the body, 
when in other respects entirely 
naked, as seen upon the statue of a I 
fisherman (Visconti, Mus. Pio-Clem. | 
jii, tav. A, 6. ) ; which also proves 
that it was not the same as the* sub- j 
ligaculum, nor worn for the sake 
of decency, for it there leaves the j 
person completely exposed, as indeed 




would be the case with our example 
if the tunic were removed. It was 
sometimes used for medicinal pur- 
poses (Plin. H. N. viii. 73. xxvii. 
28.) ; and as a convenience for car- 
rying money or other small articles 
about the person (Ulp. Dig. 48. 20. 
6.), when otherwise divested of 
clothing, and in the water (Lucil. 
Sat. vi. I. cum bulga lavat). Hence 
it is frequently seen on statues of 
fishermen, as in the one already 
quoted, and another of the Vatican 
{Mus. Pio-Clem. iii. 32. ), erroneously 
restored for Seneca, but having the 
central part of the ventrale filled in 
with plaster of Paris, in a manner 
which entirely alters the genuine 
character of the object. 

VEN'US ('A^oSIttj). The Venus, 
or best throw of the dice (lessens), or 
dibs (tali) ; so called when all the 
numbers came up different. Prop, 
iv. 8. 45. Suet. Aug. 71. compared 
with Mart. xiv. 14. 

VERBER. The thong of a whip 
for scourging slaves (Terent. Andr. 
i. 2. 28. Tibull. i. 9.22. Flagellum, 
1.) ; of a driving- whip (Virg. Georg. 
iii. 106. Ov. Met. xiv. 821. Flagel- 
lum, 2. ) ; of a sling (Virg. Georg. 
1. 309. Funda, I.) ; of a machine 
by which large stones or other mis- 
siles are forcibly projected (Lucret. 
iii. 469.). 

VEREDA'RIUS. A government 
messenger, who carried the public 
dispatches in a light cart drawn by 
swift horses (veredi), which were 
stationed for relays along the public 
roads (Sidon. Ep. v. 7. Festus s. 
Veredus. Suet. Aug. 49.), believed to 




be represented by the annexed ex- 



VEREDUS. 



VERVTUM. 



721 




ample, from a bas-relief on the monu- 
ment at Igel. 

VERE'DUS. A horse of fast 
paces ; employed as a hunter (Mart, 
xii. 14. xiv. 86.), and a post-horse 
(Festus s. v. Imp. Jul. Cod. 12. 51. 
4. ). Compare Veredarius. 

VERMICULA'TUS. See Pavi- 

MENTUM, 4. 

VERRIC'ULUM. (Val. Max. iv. 
1. Ext. 7.) Same as Everriculum. 

VERRU'CULA. The wart or 
wattle which grows on either side of 
the throat in 
some breeds of 
he-goats (Colu- 
mell. vi. 6. 2.); 
and which the 
ancient artists in- 
troduced into their representations of 
Fauns, to indicate their goatish pro- 
pensities, as exhibited by the annexed 
example, from a marble statue. 

VERSIPELLTS. Literally, one 
who changes his skin ; thence, one 
who transforms himself, or is trans- 
formed into another person's figure, as 
of Jupiter into Amphitryon (Plaut. 
A?n_ph. 121. Prol.); and so a wily, 
dissembling fellow, who can assume 
any character. (Id. Bacch. iv. 4. 12.) 
But the term designates more espe- 
cially a man transformed into a wolf, 
pursuant to an ancient legend of 
Arcadia, that every member of a cer- 
tain family was changed into a wolf 
for nine years, and after that period 
resumed his' original shape. Plin. 
H. A r . viii. 22. Pet. Sat.' 62. 

VERTICILLTJS ./ 
(crcjiovSvXos). The 
whorl or whirl of a 
spindle (Plin. H. N. 
xxxvii. II. § I.); 
which consisted of a 
small circular wheel 
or plate of wood, 
stone, or metal, through 
which the lower end 
of the spindle {fimis) 
was inserted, for the 
purpose of giving it 
rotation, and assisting by its weight to 




I twist the thread tight. It is seen on 
the bottom part of the annexed wOod- 

j cuts, representing an original Egpytian 
spindle, on one side enveloped in the 
spun thread, and simply by itself on 

: the other. 

VER'U (o£eAos). A spit for roast- 
ing meat (Varro, L. L v. 127.); 

j often made of wood (Plin. H. N. 

I xxx. 37. Virg. Georg. ii. 396. Ov. 

! Fast. ii. 363. ), sharpened at the 

I point, so as to be driven through the 
meat (Sen. Thyest. 1063. Virg. sEn. 
i. 212.), and placed over the fire (Id. 
Ain. v. 103. ), and probably turned 
by the hand upon dogs or andirons 
{varce). Compare Vertjcultjm. 

2. (aavviov.) A missile weapon 
(Virg. sEn. vii. 665. Tibull. i. 6. 
49.), adopted from the Samnites by 
the light infantry of the Romans 



(Festus, s. Samnites), which had a 
I sharp round iron point, like the spit 
j after which it was named, as exhi- 
I bited by the annexed example, from 
j an original found in Westphalia, and 
published by Alstorp (de Hast. p. 192.). 
VERUCULA'TUS. See Falx, i. 
VERU'CULUM or VERIC'U- 
LUM (o/3eAiV/cos). Diminutive of 
Veru ; the name given to the small- 
est of the two javelins carried by 
the regular Roman infantry, 
which had a triangular-shaped 
head of iron, five inches long, 
and a wooden shaft of three 
feet and a half. (Veg. Mil. 
ii. 15.) The annexed ex- 
ample, from an ancient monu- 
ment published by Alstorp, coincides 
exactly with the above description ; 
and also indicates that the ancient 
spit {veru), after which the weapon 
was named, had sometimes a flat tri- 
angular head, like the modern ones, 
instead of a plain long point. 

VERUI'NA. Same as Verutum. 
Fulgent. 33. Plaut. Bacch. iv. 7. 46. 

VERU'TUM (<raiWf). (Vinr. 
Georg. ii. 168. Sil. Iial. iii. 363. ) 
Same as Veru 2. 

2 Z 



722 



VESICA. 



VEST1BULUM. 




2. In the time of Vegetius, this 
name was given to the weapon de- 
scribed s. Veruculum. Veg. Mil. 
ii. is. 

VESFCA [iciffTis). A bladder 
(Ov. Met. v. 304.) ; employed for 
a purse (Varro, R. R. iii. 17. 2. 
Marsupium) ; for a lantern (Mart, 
xiv. 62. Laterna) ; and as a cap 
(Mart. viii. 33.), 
with which females 
were accustomed 
to cover the whole 
head, for the pur- 
pose of confining 
the hair, and keep- 
ing it clean and 
compact when not regularly dressed, 
of which the annexed wood-cut af- 
fords an example, from a fictile vase. 

VESPILLO'NES. Undertakers' 
men, who carried out the corpses of 
poor people at night-time, or in the 
dusk (from vesper), because they 
could not afford the expense of a 
funeral procession. Festus s. v. 
Suet. Do7)i. 17. 

VESTA'LES. Vestal virgins; the 
members of a sisterhood who dedi- 
cated themselves, under a vow of 
chastity, to the service of the goddess 
Vesta, in whose temple they minis- 
tered as priestesses, and watched by 
day and night the sacred fire kept 
burning upon her altar. Their cos- 
tume consisted of the stola (Plin. Ep. 





iv. II. 9.), with a short linen vest 
{carbasus. Val. Max. I. 1. 7. Prop, 
iv. II. 54. ), put on as an indumentum 
over it (Dionys. ii. 68.); and, when 



; engaged at the sacrifice, with the 
addition of an amictus, formed by an 
; oblong-square sheet of white cloth 
I bordered round the edge, and termed 
suffibidum, because it was put on the 
head, and fastened by a brooch under 
the throat (Festus, s. Suffibulum). 
Beneath this the hair was confined 
j closely to the head by a fillet of white 
wool [infula), tied by a riband 
[vitta). Most of these particulars are 
I observable in the figures introduced, 
j The right-hand one is from an en- 
j graved gem, representing the Vestal 
j Tuccia carrying water in a sieve 
j from the Tiber to the temple, as a 
I test of her chastity (Val. Max. viii. 1 . 

5.). It exhibits the stola, the car- 
I basus or linen vest reaching to the 
; knee, and the suffibulum carried in 
the left hand, and partially depending 
j from the right shoulder ; the naked- 
j ness of the other being referable 
] solely to artistic treatment. The left- 
1 hand figure, from a terra-cotta lamp, 
I shows the Vestal as she appeared at 
j the sacrifice, with the suffibidum put 
on. The brooch at the throat is 
j omitted, but its position and use will 
be readily conceived, while the form 
of the drapery and border round it 
are distinctly apparent. 

VESTIA'RIUM. A wardrobe; 
as a general term, including any kind 
of object employed for the purpose, 
! whether a closet, chest, box, or trunk. 
I Plin. H. N. xv. 8. compared with 
Cato, R. R. 98. Arca, Arma- 
rium, &e. 

VESTIA'RIUS. A dealer in 
! clothes. Ulp. Big. 14. 3. 5. Scae- 
vola. ib. 38. 1. 45. 

VESTIB'ULUM {irpSdvpov). Not 
our vestibule ; but an entrance-court, 
or court-yard before a house (Aul. 
Gell. xvi. 5. Vitruv. vi. 7. 5. Plaut. 
Most. iii. 2. 133.), or a temple (Cic. 
Verr. ii. 2. 66.), or a set of baths (Id. 
Ccel. 26.), or any other edifice, imme- 
diately in front of the main entrance 
(Cic. Ccccin. 12.), and produced by 
running out the side-walls beyond 
the facade of the building, as repre- 



VESTIPLICA. 



VEXILLUM. 723 



sented by the illustration from an an- 
cient Roman fresco painting. It was 
not roofed in, but formed an area be- 
tween the street and mansion, open in 
front, and closed at the sides by a wall, 



body of soldiers, supposed to have 
been composed of veterans, who were 




colonnade, or, as in the example, by a 
range of apartments containing the 
stabling and coach-houses, with other 
conveniences for the household. ( Vi- 
truv. vi. 5. Juv. vii. 126.) The open 
courts in front of some of the great 
houses in London — the old British 
Museum, for instance, or Burlington 
house, before they were pulled down 
— "would have afforded a complete ex- 
ample of the Roman vestibului/i, 
which was only an adjunct to grand 
buildings ( Vitruv. /. c. ), and conse- 
quently is not once met with in the ! 
small' provincial town of Pompeii. 

VESTIP'LICA. A female slave, 
whose duty it was to fold up and i 
take care of her mistress's clothes. 
Quint. Decl. 363. 

VESTIS'PICA. A female slave, 
whose duty consisted in looking over 
and keeping in repair her mistress's 
clothes. PlauL Trin. ii, 1. 29. 

VETERINA'RIUS. A cattle- 
doctor ; including all classes of the 
profession — the horse-doctor, cow- 
leech, &c. Columell. vi. 8. 1. Id. 
vii. 5. 14. 

VEXILLA'RIUS. The soldier ! 
who carried the vexillum, or colours j 
of his regiment (Liv. viii. 8. Tac. 
Hist. I. 41.); more especially, though 
not exclusively descriptive of the 
cavalry troops, who used no other I 
ensign. The illustration is copied 
from the Column of Antoninus. 

2. Under the Empire, the name of i 
Vexillarii was given to a distinct 




released from the military oath and 
regular service, but kept embodied 
under a separate flag {vexillum), to 
render assistance to the army if re- 
quired, guard the frontiers, and gar- 
rison recently-conquered provinces ; 
a certain number of these supernu- 
meraries being attached to each 
legion. Tac. Hist. ii. 83. Ib. 100. 
Compare Ann. i. 36. 

VEXILLA'TIO. A body of 
troops united under one flag {vexil- 
lu?n) ; applied to the allies. Suet. 
Galb. 20. 

VEXILLUM. A flag; consisting 
of a square piece of cloth fixed on a 
frame or cross-tree (Tertull. Apol. 
16.) ; as contradistinguished from the 
standard {siguum), which was simply 
a pole, with the image of an eagle, 
horse, or some other device, on the 
top of it. The flag was always the 
proper and only ensign of the Roman 
cavalry. In very early times it was 
also used by the infantry (Liv. viii. 
8.) ; but it was afterwards employed 
for a distinctive banner of the allied 
troops, as the standard was for the 
legions ; whence the two are fre- 
quently enumerated together when it 
is intended to comprise the Roman 
legions and the allies. (Liv. xxxix. 
20. Suet. Nero, 13. Vitell. II.) The 
illustration represents the cross-tree 
upon which the flag was extended, 



7^4 



VIA. 



VICAR I US. 



from an original of bronze, with 
miniature drawing of the flag ai 




pole by its side. 

VIA. A paved road, said to be an 
invention of the Carthaginians (Isi- 
dor. Orig. xv. 1 6. 6.), for horses, 
carriages, and foot-passengers (Varro, 
L. L. v. 35.), both in town and coun- 
try ; but more especially such as 
formed the main channel of commu- 
nication or high-way between one 
district and another, as opposed to a 
back-street or bye-lane. (Mart. vii. 
61. Cic. Phil. xii. 9. Hor. Sat. i. 9. 
I.) The Roman roads were con- 
structed with the greatest regard to 
convenience and durability ; consist- 
ing of a carriage-way (agger) in the 
centre, paved with large polygonal 
blocks of basaltic lava (silex), im- 
bedded in a substratum formed by 
three layers of different materials 
one under the other, the lowest of 
small stones or gravel, the next of 
rubble-work, i. e. broken stones and 
lime; the upper one a bed of six 
inches deep, composed of fragments of 
brick and pottery, mixed with cement ; 
and a raised foot-way (crepido) on 
each side, flanked by a series of kerb- 
stones (wnbones), which in some cases 
were interspersed at intervals by 
large wedge-shaped trusses (gomplii), 



a | which bound and consolidated the 
d whole mass. The illustration repre- 




sents a view of the main road from 
Herculaneum to Pompeii, at the en- 
trance into the latter city; showing 
the carriage-way and foot-pa^hs, with 
their kerb-stones on each side. A 
section, exhibiting the method of 
setting the polygonal blocks, is given 
ir. Agger, 4, and illustrations of the 
other parts in detail under their re- 
spective terms bracketed above, 
j VIATO'RES. Runners, or ofh- 
! cers attached to the service of the 
| Roman magistrates, and employed as 
| messengers to summon the senators 
j from the country, the people to the 
comitia, or individuals to the presence 
of a magistrate. They were especi- 
ally assigned to those magistrates 
who had no lictors, the tribunes of 
the people and censors; but in early 
times, the consuls, dictator, and prae- 
tors had their runners as well as 
lictors. Cic. Sen. 16. Varro ap. 
Gell. xiii. 12. Li v. vi. 15: xxii. 1 1, 
j ii. 56. 

A IBTA. The cross-bar or plank 
laid across the forked uprights (varce) 
which form a jack or trestle for 
mechanics to stand or work upon; 
whence the adage, Vibia varam se- 

I qnitur (Auson. Idyll. 12.), the plank 
falls with its props, is interpreted to 
mean " One error follows another." 

VICA'RIUS. Literally, a substi- 
tute or deputy ; and, specially, a 
slave kept by a fellow-slave as his 

! fag (Hor. Sat. ii. 7. 79. Mart. ii. 

1 18.); for the upper classes of these 

) servants, called ordinarii, kept slaves 



VICT IMA. 



VI GILES. 



725 



of their own, who were purchased by 
themselves. 

VICTIMA (Upelou). Strictly, a 
victim sacrificed to the gods as an 
offering of thanks, in return for be- 
nefits received ; as contradistin- 
guished from hostia, a peace-offering 
to avert or appease their anger : but 
the distinction is not rigidly ob- 
served. 

VICTIMA'RII. Servants or 
ministers employed at the sacrifice, 
whose duty it was to kindle the fire, 
prepare the requisite articles and 
implements, and hold the victim 
whilst it received the knock-down 




blow from the Popa, as exhibited by 
the annexed engraving, from a Ro- 
man bas-relief. Liv. xl. 29. Val. 
Max. i. 1. 12. Inscript. ap. Fabretti. 
p. 450. n. 13. 

VICTORIATUS, sc. Hummus. 
A Roman silver coin, in value half a 
denarius, so termed because it had an 
image of Victory on the reverse, as 
shown by the annexed example, from 




an original. Varro, L. L. x. 41. Cic. 
Font. 5. Plin. H. N. xxxiii. 13. 

VI'CUS (kco/jlt)). In the primary 
notion, a habitation, taken in a col- 
lective sense, as a number of houses 



contiguous to each other ; thence, a 
; street with houses on each side, both 
in a country village or a city; and 
so a division or quarter of a town, 
consisting of a certain number of 
streets and houses. Hor. Epist. iL 
1. 269. Ov. Fast. vi. 609. Cic. 
Mil. 24. 

VI'DULUS. A large wicker- 
basket covered with leather, and 
employed for holding a number of 
minor articles within it<e\(—cistellam 
in vidulp (Plaut. Rud. iv. 4. 88.), 
marsupium cutti viatico in vidtilo 
(Id. Men. v. 7. 49.); and as a fish- 
basket (Id. Rud. iv. 3. 54—72.), 
I which passage testifies that it was 
covered with leather. 

VIETOR (from vieo, to plat). A 
I maker of wicker-baskets ; the name 
! given by Plautus {Rud. iv. 3. 62.) 
to one who makes a vidulus. 

VIG'ILES. Sentinels, who per- 
form the night watch of an army 




I (Virg. ALn. ix. 159.); as shown by 
; the illustration, from the Vatican 
Virgil, which represents a bivouac 
of soldiers outside the walls of a for- 
tress ; the time of night being indi- 
! cated by the blazing fire in the fore- 
! ground, and the moon and stars above. 

2. Watchmen; of whom there 
I were seven cohorts in the city of 
Rome, under the command of a prse- 
| feet {nyctostrategus), and whose duty 
it was to preserve the peace at night, 
and protect the citizens and their 
property from murder, plunder, or 



726 



VIGILIARIUM. 



VINDICTA. 



fire. Plaut. Arnpk i. I. 198. Cic. 
Verr. ii. 4. 43. 

VIGILIA'RIUM. A watch- 
tower, in which watch is kept at 
night. Senec. Ep. 57. 

VILL'ICUS. K farm-bailiff ; a 
slave who had the superintendence 
in chief of all the stock and business 
of a farm, the surveillance of the 
labouring slaves, the management and 
direction of the farming operations, 
the duty of attending the markets 
and selling the produce of the estate, 
as well as the custody of all the fixed 
and movable capital upon it. Varro, 
R. R. v. 2. 14. Cato, R. R. 5. and 
142. Columell. xi. 1. 7. 

VINA'RIUM. The press-room 
or building containing the presses 
{torcularia) and other necessaries for 
making wine. (Columell. xii. 18. 
3.) See the article Torcularium, 
under which a similar contrivance 
for making oil is illustrated and 
explained. 

VIN'CULUM (Setrfios). Any: 
thing which binds ; as — 

1. A string or riband tied round 
a letter, and over which the seal was 
affixed. Nep. Paus. 4. Ov. Prist. 
iv. 7. 7. 

2. A string by which the bung 
of a wine-jar {cadus) or other vessel 
was tied down, previous to being 
sealed. Tibull. ii. I. 21., wood-cut 
s. Pelliculatus. 

3. A fillet and a chaplet for the 
head. Sen. Thyest. 544. Id. Med. 
70. Vitta. Corona"! 

4. A collar, and a leash for dogs. 
Tibull. iv. 3. 15. Ov. Met. viii. 332. 
Collare, 2. Copula, i. 

5. The thong by which a yoke 
was fastened under the animal's neck. 
Tibull. ii. I. 7. Jugum. 

6. The thong by which boxing- 
gauntlets were fastened round the 
wrist, and arm. Virg. sEn. v. 408. 

C^ESTUS. 

7. The strap or lace by which 
some kinds of shoes were fastened 
round the feet and ankles. Tibull. i. 5. 
66. Ov. Met.m. 168. Amentum. 



8. A manacle for the wrists. Sen. 
Med. 463. Manica, 4. 

9. A chain for the neck. Ov. 
Met. x. 381. Collare, i. 

10. A fetter, for the feet. Tibull. 
i. 6. 31. Compes. 

VINDE'MIA(tp^ 7 7]tos). Strictly, 
a gathering of grapes at vintage 
(Varro, L. L. v. 37.), but also ap- 
plied to other produce ; as, olives 
(Plin. H. N. xv. 2.), frankincense 
(Id. xii. 32.), and honey (Columell. 
ix. 15. I.). The gathering of olives 
by means of ladders raised against 
the trees is shown by the annexed 
illustration, from an engraved gem ; 




and the gathering of grapes by simi- 
lar means is represented on a bas- 
relief amongst the collection at Ince- 
Blundell, and on a mosaic pavement dis- 
covered at Rome. Pict. Crypt, tav. 24. 

VINDEMIA'TOR (rfvy-qr-hp). A 
vintager, who gathers the grapes 
(Varro, L. L. v. 94.) ; and who 
dresses the vines (Hor. Sat. i. 8. 30.). 

VINDICTA. A rod with which 
the praetor, or the praetor's lictor, 
tapped the head of a slave as a sign 
that he was thus made free (Liv. ii. 
5. Cic. Top. 2. Pers. v. 88.) ; in the 
same manner as penitents used to be 
seen in St. Peter's at Rome, kneeling 
down in front of the confessional and 
receiving the tap of a wand on their 
heads as a token of absolution, — 
a custom which probably owed its 
origin to the above practice of the 
ancient Romans. 



VINE A. 



VIRGA. 



727 



VI'NEA. A shed employed by 
the Roman soldiers to protect them- 
selves from the missiles of the enemy, 
whilst occupied in undermining or 
breaching the walls of a fortress. It 
had a sloping roof of planks and 
wicker-work supported upon up- 
rights, and was closed on three of 
its sides by similar materials, the 
whole frame being covered outside 
with raw hides or horse-hair cloth, 
to prevent its being set on fire. 
Each vinea, by itself, was about eight 
feet high and sixteen in length ; but 
a sufficient number of them were 
joined together in a line, and run up 
close to the walls, so that the ram 
and other engines could be securely | 
plied against the foundations under- j 
neath them. Caes. B. C. ii. 2. Liv. 1 
xxxvii. 26. Veg. Mil. iv. 15. . 

VI'NITOR (afxireAovpyds). A j 
vine-dresser. Cic. Fin. v. 14. Cato, ! 
R. R. iii. 3. 8. 

VINITO'RIUS. See Falx, 5. 

VIOLA'RIUS. One who dyes 
cloth of a violet colour. Plaut. Aid. 
iii. 5. 36. 

VIRGA (fid&Soi). Literally, a 
green bough (Varro, R. R. i. 594.) ; 
whence applied to various objects, 
which are made from a long straight 
branch cut off from the tree, cor- 
responding with our terms a wand, 
rod, switch, amongst which the most 
characteristic are as follows : — 

I. A switch for riding (Mart. ix. 
23.) or driving (Juv. iii. 3 1 7.), thin 
and tapering, without any thong, as in 
the annexed example, from a fictile j 




vase. 

2. A switch or cane for punishing ! 
boys at school (Juv. vii. 210.) ; or for i 
carrying in the hand as a walking- | 
cane (Ov„ Fast. ii. 706.), which j 



amongst fashionable and well-dressed 




men, in Greece at least, was regarded 
as a necessary accompaniment when 
they went abroad (Athen. xii. 26.). 
It was often richly decorated, and per- 
haps more elegantly made than the 
common walking-stick of which an ex- 
ample is exhibited above, from a Pom- 
peian painting representing Ulysses. 

3. A stick which the lictor carried 
in his right hand for the purpose of 




clearing the way before the magis- 
trate on whom he attended, and of 
knocking at the doors of the houses 
where the magistrate visited. (Liv. 
vi. 34. Compare Mart. viii. 66.) 
The example is from a sepulchral 
bas-relief. 

4. A wand, carried as a mark of 
distinction by persons of consequence, 
such as poets or the principal actors 
in a play ; or by those in authority, 
such as the master or overseer of a 



7 ; 28 VIRG A. 



VI TI.COM US. 



band of workmen, who in works of 
art is always distinguished from his 
men by this badge ; or the trainer of 




a band of gladiators, always distin- 
guished by the same emblem, and 
one of whom is represented by the 
annexed figure, from a Roman 
mosaic. Serv. ad Virg. ALu. iv. 
242. 

5. A magic -wand, such as was 





attributed to Mercury (Hor. Od. i. 
10. 18.) and to Circe (Virg. JEn. 
iv. 242. ), with which she transformed 
the companions of Ulysses into swine, 
as represented by the illustration, from 
a marble bas-relief. 

6. Virgcz (at pdfiSoi), in the plural ; 
the rods of birch or elm which formed 
a lictor's fasces, and with which a 
criminal was beaten. Plin.i/. N. xvi. 
30. Cic. Verr. ii. 5. 62. Fascis, 2. 

7. Plural. The ribs upon which 



with twigs 
Catull. 64. 



an umbrella or parasol is extended. 
Ov. A. Am. ii. 209. Umbella. 

V I R G A' T U S 
(pa/35a>To's). Striped, 
like a tiger (Sil. Ital. 
v. 148.); hence, of 
drapery ornamented 
with long stripes \vir- 
gce) of gold or various 
colours woven into 
the pattern, as exhi- 
bited on the tunic of 
the annexed figure, 
representing Priam, 
in the Vatican Virgil. 
Virg. JEn. viii. 660. 
Sil. Ital. iv. 155. 

2. Made or plaited 
{virgce), like a basket. 
3*9- 

VIR'GULA. Diminutive of 
ViRG A ; a small branch (Nepos. 
T/iras. 4. ) ; a magic zvand (Cic. Off. 

1. 44. ViRG A, 5.) ; a metal rod, form- 
ing the rattle of a sistrum (Apul, 
Met. xi. p. 240. Sistrum) ; a drum- 
slick. (Isidor. Orig. iii. 
Symphonia, 2.) 

VI'RIA. An old name 
MILLA. Isidor. Orig. xix. 
Tertull. Pall. 4. 

VIRIA'TUS. Same as Armil- 
latus ; applied to Hannibal. Lucii. 
Sat. xxvi. 24. 

VIRIC'ULUM. Plin. H. N. xxxv. 
41. Same as Cestrum. 

VIRIDA'RIUM or VIRIDIA'- 
RIUM. A pleasure-garden; or, pro- 
bably, the shrubbery in a garden. 
Suet. Tib. 60. Cic. Atl. ii. 3. 

V I R I D A' R I U S. A pleasure- 
gardener. (Inscript. ap. Grut. 602. 

2. ) There does not appear to be 
any positive distinction between the 
occupation of the viridarius and the 
topiarius. 

VPRIOLA. Diminutive of Viria. 
Isidor. Orig. xix. 31. 16. Ulp. Dig. 
18. 1. 14. 

VITIC'OMUS. Wearing a chaplet 
of vine-leaves, especially applied as 
an epithet of Bacchus. Avien. in 
Aral. 70. Compare Corymbus, I. 



21. 

for 
31 



14. 

Ar- 
16. 



VITIS. 



VITTA. 



729 




VFTIS («A^a). Literally, a 
vine; thence, the branch of a vine, 
cut into a stick or baton, which 
the Roman centurions 
employed for punish- 
ing any of the men 
who had neglected 
their military duties. 
(Plin. H. N. xiv. 
3. Ov. A. Am. hi. 
527. Juv. viii. 247. 
Plut. Galb. 26.) 
The illustration re- 
presents a centurion 
with the vitis in his 
right hand, from a 
bas-relief. Compare the wood-cut s, 
Evocati. 

2. Same as Vinea. Lucil. Sat. 
p. 89. 69. ed. Geiiach. ex Fest., sub 
vitem prceliariL 

VITREA'RIUS (vaAovpySs). A 
glass-worker. Sen. Ep. 90. 

VIT'REUS (vd\ivos). Made of 
glass; whence Vitrea absolutely in 
the plural, glass vessels (Mart. i. 42. 
Stat. Sylv. i. 6. 74. ) ; in the manu- 
facture of which the ancients were 
exceedingly skilful, making excellent 
imitations of precious stones, mixing 
together a variety of colours, and 
working the material with an exqui- 
site finish after it had been blown. 
The Portland vase in the British 
Museum, which is made of glass, 
affords an unrivalled specimen of this 
branch of ancient art. 

2. Pila vitrea. See PiLA, 3. 

3. (va\oei8ris.) Like glass, trans- 
parent; as toga vitrea, a toga made 
of very fine texture, so. that the tunic 
could be seen through it. Varro ap. 
Non. s. Vitreum, p. 448. 

VITTA. A riband, or band, com- 
monly worn round the forehead and 
head by free-born ladies 
both before and after 
marriage (Virg. Ain. ii. 
168. Prop. iv. 3. 16.), 
to confine the hair in a 
neat and modest man- 
ner. (Ov. Met. ii. 413. 
Id. A. Am. i. 31.), and 





to distinguish them from women of 
easy virtue (Id. Rem. 386.), who 
dressed so as to attract observa- 
tion by their meretricious appearance. 
The illustration represents Lepida, 
the wife of the Emperor Galba, on a 
Roman medal. 

2. The sacred vitta, strictly speak- 
ing, is the long riband which fastened 
together the flocks of 
wool forming an iri~ 
fula, the two ends 
of which, with their 
fringed extremities 
{hzuice), hung down 
at the back of the 
neck (Virg. Georg. 
iii. 487. Id. Alh. x. 
538. Isidor. Orig. 
xix. 30. 4. ) ; whence 
the term is frequently used, in a col- 
lective sense, for the fillet itself, 
formed of these three parts, and 
which was worn by both sexes of the 
priesthood (Virg. JEn. ii. 221. Ib. 

vii. 418. Juv. iv. 9.), and especially 
by those attached to the service of 
Vesta (Ov. Fast. iii. 30.), as exhi- 
bited by the illustration, which repre- 
sents a Vestal Virgin on a medal, 
bearing the inscription Bellici.-E 

MODESTVE, V. V. 

3. A riband of the same description 
fastened round the infula, with which 
the head of a victim was dressed at 
the sacrifice (Serv. ad Virg. ii. 
I 33- Ov. Pont. iii. 2. 75.); or round 
the festoons {serta) with which altars, 
temples, and houses were decorated 
upon solemn occasions (Virg. Eel. 

viii. 64. An. iii. 64. Prop. iv. 9. 
27. Tac. Hist. iv. 53.), as in the 




annexed example from a bas-relief 



73° VITTATUS. 



VOLUTA. 



upon an altar. In this sense the term 
is likewise applied collectively to the 
whole ornament as well as the ligature 
which bound it. 

VITTA'TUS. Decorated with a 
vitta, as described and exemplified by 
the preceding article and illustrations ; 
of women (Ov. A?n. i. 7. 17.), vestals 
(Lucan. i. 597.), cattle at the sacrifice 
(Ov. Met. xii. 151..). 

VIVA'RIUM (((0 7P e7ov). A very 
general term for any place in which 
beasts, fowls, fish, or any kind of 
animals were kept alive, either for 
the purposes of gain or pleasure ; a 
park for game, a warren, fish-pond, 
decoy, preserve for oysters, &c. Aul. 
Gell. ii. 20. Plin. H. N. viii. 50. Ib. 
78. Id. ix. 81. 

VOL'GIOLUS. An implement 
used in husbandry and horticulture 
for making beds smooth and level. 
Plin. H. N. xvii. 14. 

VOLSELLA and VULSELLA 
(rpixoKafiis). A pair of tweezers, for 





pulling hairs out by the roots. (Mart, 
ix. 28.) The example is from an 
original found in an excavation near 
Rome. 

2. A pair of small pincers employed 
by dentists for removing any decayed 



or broken fragments of a tooth which 
might be left behind when the tooth 
was extracted. (Celsus, vi. 12. 1.) 
The example is from an original found 
amongst several other surgical instru- 
ments at Pompeii. 

3. A surgical instrument for taking 
up the proud flesh or edge of a wound 
to facilitate the operation of cutting 
away any portions which require re- 
moval. Celsus, vi. 18. 3. 

4. A surgical instrument used for 
replacing broken and protuding 
bones, made like a smith's forceps. 
Celsus, vii. 10. 7. 



VOLU'MEN. A roll, or book, 
which was written upon one long 
sheet, made out of 
a number of strips 
of papyrus glued 
together, and when 
completed, rolled 
round a cylinder, so 
that the reader un- 
rolled it as he read ; 
whence the expression evolvere volu- 
men means " to read a book." (Cic. 
Alt. x. 10. Hor. Tibull. Propert. 
Mart.) The illustration represents 
five rolls tied up together, from origi- 
nals as they were discovered in a 
house at Herculaneum. 

2. A volume, in our sense of the 
term, that is, a certain portion of a 
work contained in one roll ; for when 
the MSS. ran to any length, it was 
customary to divide it into separate 
parts or books, each of which Avas 
rolled upon a separate stick. Ov. 

i Trist. iii. 14. 19. Plin. Ep. hi. 5.5. 
Plin. H. N. vi. 34. 

VOLU'TA {i<d\ X V. 
Inscript. ). A volute. 

I scroll which con- 
stitutes the distin- 

( guishing feature of 
an Ionic capital, 
curling down under each angle of the 
abacus, and which is said by Vitru- 

I vius to have been designed in imi- 

\ tation of a bunch of curls on each 
side of the female face ; but the Greek 
name, which literally means the murex 
or limpet, indicates that the idea was 
suggested by the spirals of a fish's shell. 
Vitruv. iv. I. 7. Id. iii. 5. 5. 

2. (e'At£.) The volute which curls 
down under each of the four corners 
of the abacus in a 
Corinthian capital, 
and which imitate 
the stalks of a para- 
sitical plant bent 
down by a super- 
incumbent obstacle. 
The two small ones 
which meet under the rosette {flos) 
in the centre of each face are distin- 



Hesych. and 
: the spiral 




VOMER. 

guished by the term helices minorcs. 
Vitruv. iv. I. 12. 

VO'MER and VO'MIS (Svvis or 
wis). A ploughshare (Varro, L. L. v. 
135. Virg. Georg. i. 45. Cic. Phil. ii. 
4.0.), formed of a metal plate (c), 
affixed to the share-beam (dentate), 
as in the annexed example from a 
bas-relief, which exhibits a specimen 
of the share termed vomer resnpinus. 
(Plin. //. N. xviii. 48.) Other ex- 




amples of simpler kinds, employed in 
light soils (Plin. /. c. ), are represented 
by the wood-cuts s. Dens, 4., and 
Dentale ; and a share furnished 
with a coulter, also described by 
Pliny (/. c.), is given under the word 

COULTER *J 

VOMITO'RIA. In theatres and 
amphitheatres, the vomitories, or doors 
of entrance from the internal lobbies, 
which gave immediate admission to 
the tiers of seats occupied by the 
spectators. (Macrob. Sat. vi. 4.) 
The illustration represents a portion 
of the cavea in the great theatre at 
Pompeii, comprising four vomitories, 
shown by the four small doorways at 
the top, two in each prcecinctio ; but 
others were disposed at relative dis- 
tances round both circular belts, 
opening upon the head of every flight 
of stairs {scalce), down which the 
spectators descended till they came to 
the step or circle (gradus, sedile), 
where every one's seat was marked 
out and numbered (wood-cut s. Li- 
nea, 7.). Each of these vomitories 
corresponded likewise with one or 
more staircases formed in the shell of 
the building, and communicating with 
the exterior (see the wood-cut and 
description s. Amphitheatrum, p. 
29. ), so that the whole company 
could retire, almost at once, without 
the least crowding or inconvenience. 
It is calculated that the Flavian 



VULVA. 731 
amphitheatre was capable of con- 



taining more than 90,000 spectators, 
and was furnished with vomitories 
and staircases sufficient for the whole 
concourse to disperse in less than five 
minutes. 

VULGA'RES. A class of slaves 
next in point of household rank to 
the ordinarii. The title includes all 
who had a specific occupation as in- 
door or out-door servants, as well as 
the entire body of those who prac- 
tised any handicraft, art, or scientific 
pursuit, in the service of their mas- 
ters ; for instance, the house-porter 
(ostiarius), the groom of the chambers 
{cubicidarius), the valets and ladies' 
maids (cosmetcs, ornatrices\ the palan- 
quin-bearers (lecticarii), the cook 
(coquus), confectioner (dzdciarius), 
barber (tousor), &c, &c. Ulp. Dig. 
47. fo. 15. Cic. Rose. Am. 46. 

VULTU'RIUS. A term given to 
one of the throws of the dice. (Plaut. 
Cure. ii. 3. 77.) It is not ascertained 
what particular numbers came up to 
make a "vulture ;" but it was not a 
good throw, though not so bad as the 
" dog" (canis), which was the worst 
of all. 

VULVA (ixriTpa). A favourite 
dish with the Romans and Greeks, 
consisting of the womb of a sow 
which had miscarried at her first 
farrow, or which was killed imme- 
diately after farrowing. Plin. H. N. 
xi. 84. Hor. Ep. i. 15. 41. Mart, 
xiii. 56. • Alciphr. Ep. i. 20. Athen. 
iii. 51. 




73 2 



XENIA. 



ZONA. 



X. 

XEN'IA (leVta). Presents which 
it was customary amongst the Greeks 
and. Romans for a host to give or 
send to his guests, as a mark of hosi 
pitality and friendship (Plin. Ep. vi. 
31. 14.), consisting, for the most part, 
of delicacies for the table ; as may be 
collected from the thirteenth book of 
Martial, which is inscibed with the 
title Xenia, and relates chiefly to 
articles of consumption. 

2. Pictures of still life, such as 
dead game, poultry, fish, fruit, vege- 
tables, &c. (Vitruv. vi. 7. 4. Philos- 
trat jmag. i. 31. ii. 25.); so termed 




because they represented such objects 
as a host sent in presents to his 
guests. Many pictures of this kind 
have been found amongst the paint- 
ings of Pompeii, one of which is 
inserted as a specimen of the style. 
It contains a fowl trussed in the 
modern manner, a bundle of aspara- 
gus, a loaf of bread, two oysters, and 
several kinds of fish. 

XYSTAR'CHA or -ES [SvarAp- 
XVs). An officer who superintended 
the exercised of the xystus ; the same 
as, or very similar to, the Gymnasi- 
ARCHUS. Ammian. xxi. I. 

XYS'TIC U S (Zv<ttik6s). An 
athlete who practised his exercise in 
a covered corridor or xystus. Suet. 
Aug. 45. Galb. 15. 



XYS'TUS or -UM {&v<rr6s ov-6v). 
Amongst the Greeks, a covered cor- 
ridor in the gymnasium (see the plan 
p. 324. tt) where the athletes, ex- 
ercised in winter. Vitruv. v. 1 1. 4. 
Id. vi. 7. 5. 

2. Amongst the Romans, an open 
walk or terrace in a garden, amidst 
flower-beds edged with box. Plin. 
Ep. ii. 17. 17. Id. v. 6. 19. Suet. 
Aug. 72. Phsedr. ii. 5. 



ZANCHA or ZANGA. A high 
and close boot, made of soft black 
leather (Schol. Acron. ad Hor. Sat. 
i. 6. 27.), worn by the Oriental races 
under their trowsers [bracce). Imp. 
Gall. ap. Treb. Claud. 17. Impp. 
Arcad. et Honor. Cod. Theodos. 14. 
10. 2. 

ZEM'A {£e/*a). A saucepan for 
boiling. Apic. viii. 1. 

ZO'DIACUS sc. thruhis (CooSiaKos 
kvkAos). The zodiac. Aul. Gell. xiii. 
9. 3. See Circulus, 4. 

ZO'NA ((dvij). The zone; a flat 
and broadish girdle worn by young 
unmarried women round their hips 
(Horn. Od. v. 231. Ov. East. ii. 231.); 
whereas the common girdle {dngulum) 
was placed immediately under the 
bosom, as exemplified by the wood- 
cuts annexed, which afford an example 
of the two objects placed in juxta- 
position. The left-hand one exhibits 
a zone by itself, from a fictile vase, 





and its place upon the person, 



ZONARIUS. 



ZOTHECA. 733 



from a group representing Electra 
and Orestes ; while the right-hand 
figure, which is copied from a marble 
statue, wears a cingidum fastened 
round the waist or under the breast. 
The zone was not laid aside until after 
the wedding, when the bridegroom 
had unfastened it with his own hands ; 
whence the expression zonam solvere 
(Catull. ii. 13. Compare Ov. Her. 
ii. 115.) means "to enter the married 
state." 

2. A broad belt worn by men round 
their loins (Horn. II. xi. 234. Plaut. 
Merc. v. 2. 84.), and made double or 
hollow like our shot-belts, for the 
purpose of carrying money deposited 
in it about the person (C. Gracch. 
ap. Gell. xv. 12. Suet. Vit. 16.); 
whence the expression zonam perdere 
(Hor. Ep. ii. 2. 40.) means "to lose 
one's money." 

3. The Greek writers also use the 
term for a soldier's belt, worn round 
the loins, to cover the juncture of the 
cuirass and the kilt of leather straps 




{irrepvyes) attached to its rim (Horn. 
//. v. 539.), as shown by the annexed 
example, representing a Greek warrior 
on a fictile vase ; but in this sense the 
Romans adopt the word cingulum. 

ZONA'RIUS {(wviott\6kos). One 
who makes zona. Cic. Flacc. 7. 

ZO'NULA ((wviov). Diminutive 
of Zona, i. (Catull. lxi. 53.) ; of 
Zona, 2. (Lamprid. Alex. Sev. 52.) 

ZO'PHORUS {(aoQdpos). The 
frieze ; a member situated between 
the architrave and cornice in the en- 



1 tablature of an order. (Vitruv. in. 
5. 10.) It covers externally the 

! space occupied by the tiebeams {tig// a) 
which form the timber-work of the 
roof(see the wood-cut s. Materiatio, 
ddddd), and which in the Doric 
order are represented externally by 
ornaments termed friglyphs carved 
upon the face of the frieze itself. 
In the Ionic order it consists mostly, 
though not always, of a plain marble 
surface, as in the annexed ex- 
ample from a temple of Bacchus at 




Teos ; but in the Corinthian it is 
more frequently enriched with sculp- 
ture, representing sacrificial imple- 
ments, war trophies, festoons of fruit 
and floweis, or altars and candelabra 
intermixed with fabulous animals, 
especially griffins, as shown by the 
annexed wood-cut from a slab on the 
frieze of the temple of Antoninus and 




Faustina at Rome ; and this practice 
of decorating the frieze with animals 
carved in relief is supposed to have 
suggested its ancient name, which 
means literally, bearing animals, or 
figures. 

ZOTHE'CA. A small private 
chamber or cabinet, adjoining a 
larger one, and affording privacy 
for business or study. Plin. Ep. ii. 
17. 21. 



734 ZOTHECA. 



ZYTHUM. 



2. A niche, for a statue or other 
object (Inscript. a£. Orelli. 1368. afi. 
Murat. 690. 2. ), like the central 
recess in the annexed engraving 
which represents one side of a sepul- 
chral chamber, discovered by an exca- 
vation in the neighbourhood of Rome. 



ZOTHE'CULA. Diminutive of 
Zotheca, 1. Plin. Ep. v. 6. 38. 

ZY'THUM {(Mos). A strong and 
intoxicating beverage made from 
barley and other grain ; a sort of ale 
j or beer. Columeil. x. 116. Plin. 
I H. N. xxii. 82. Ulp. Dig. 33. 6. 9. 




END OF THE DICTIONARY OF ANTIQUITIES. 



GREEK AND LATIN INDEX, 

CONTAINING 

A LIST OF GREEK WORDS, WITH THEIR LATIN SYNONYMES, UNDER 
WHICH THE GREEK TERMS ARE EXPLAINED. 



A. 

afSaKitTKos, abaculus. 

£j8a|, abacus. 

ay ad o5 a i^xoiv, agathodae- 

mon ; genius. 
dyaA/xa, signum, I. 
ay Kicrrpov, hamus, I, 2. 
ayKoiva, anquina. 
aynos, ayxT], ansa. 
ayKvAt], ansa, 3. 
ayKvk-qrov, ansatum te- 

lum. 
dynvXiov, ancile. 
ayKvXwros, ansatus. 
ayKvpa, ancora. 
aynvpas crrjjxsLov, anco- 

rale, 2. 
aynuv, ancon. 
ayopd, forum, 2. 3. 
017 wp 06 '€7 ns, agonotheta. 
atvTov, adytum. 
a(w<TTos, discinctus. 
ad\r]Tai, athletse. 
deros, aleTos, aquila, 2. 
aeV co /j. a, aquila, 2. 
alyeXar-qs, caprarius. 
alyis, aegis. 
aliroXos, caprarius. 
alxpy> cuspis. 
alwpa, oscillatio. 
&Kairva, acapna. 
anariov, acatium. 
aKepcreno/uLris, acerseco- 

mes ; mtonsus, 1. 
anecnris, sarcinator. 
anto-Tpa, acus. 
aneo-Tpia, sarcinatrix. 
aKivanys, acinaces. 
&Kfxwu, incus. 
inoXovdos, comes. 



O.KOVT], COS. 

6.K.ovpos, intonsus, 2. 
oLKpar id fj.a, jentaculum. 
6.Kparov, merum. 
anpaTocpopov, acratopho- 
rum. 

anpofSariKri nrix&vr\, scan- 
soria machina. 

OLKpoTzoXis, arx. 

a-KpcoT-qpia, acroteria. 

olkt'is, radius, 2. 3. 

aXafSaarpos, alabaster. 

aAeiVrr/s, aliptes. 

a\6KTpvouorp6<pos, la- 
nista avium. 

a\Ltvs, piscator. 

aXXavTOTrwXrjs, botula- 
rius. 
i aXXds, botulus. 
I oA^aTa Ta, salgama. 

aX/nevTTjs, salgamarius. 
■ aX6f](Tis, tritura. 

a\oiri]yiov, salinas. 
J aKoTrr)y6<i, salinator. 

aArripes, halteres. 
, aXvaiSeros, catenatus. 
j aXvcrlSiov, catella. 
J aXvcris, catena, 
j a\d)T], area, 4. 

^Afxa^uu, Amazon. 

d/maXXa, manipulus. 

a/j.a£a, plaustrum. 

, currus, 5. 

afia^evs, plaustrarius, 2. 

auat'is, plostellum. 
j a i uo|o7r7j'yos,plaustrarius, 

a/ua^onoSes, arbusculae. 
a/xjSil, obba. 
d/u&uv, umbo. 
a./j.tL&oi'Tes, canterii. 



! a/xv, hama. 

a/j.7]Tr}p, messor. 
j afxis, matula. 

afxixa, amentum. 

apoXyevs, mulctra. 

djxireXovpyos, vinitor. 

afj.iTv^, frontale. 

a/j.(pL0\r]aTpou, funda, 2. 

afj.<pidea, armilla, 2. 

dfxcpi84aTpou, amphithea- 
trum. 

dijL(pijjia\\ov, amphimal- 
lum. 

afxcpiTTivos, desultor. 

a/x(pnrp6aTu\os, amphi- 
prostylos. 

a/j.<pLTaTTos, amphitapus. 

&fj.(po5os, ambivium. 

a.fjL<popivs, amphora. 

avdfiadpov, anabathrum. 

avafidrris, admissarius. 

ava$6Xaiov, anabolium. 

avafioXsvs, strator. 

avafioXi], pallium, 2. 
j avdyXvirra, anaglypta. 
I avayvwar-qs, anagnostes. 
j avdZrifxa, anadema. 
j avdQt]fxa, anathema. 

auaKXivTT\piov, anaclinte- 
rium. 

j ava\-r\fxjxa, substructio. 
■ dfa^vpides, bracae, 1. 

dvdcpopov, jugum, 2. 

avdpids, statua. 

avhpuv, andron. 

avSpoovlTLs, andronitis. 

avriov, insubulum. 

avTi<TTpdT7iyos,\ega.tas, I. 

avrXia, antlia. 

dvrXos, sentina. 

dfyv-ri, bipennis ; dolabra. 



yy A 



736 



GREEK AND LATIN INDEX. 



&fav, axis. 
a-rroPdOpa, pons, 5. 
iiirode(T/j.6s, fascia, 3. 

, mamillare. 

awofivriipiov, apodyte- 
rium. 

awoOectfcns, apotheosis ; 

consecratio. 
aTroQrjKT), apotheca. 

, horreum, 3. 

airoKpoTrjfxa, crepitus. 
a.Tro(T(ppdyi(r/jLa, apo- 

sphragisma. 
airocpSpriTa, apophoreta. 
apaioaruXos, arseostylo j. 
apBvXrj, pero. 
apSioOripa, forceps, 4. 
&piarou, prandium. 
dpicvs, cassis. 
apjxa, currus, 2. 
app.a dewy, tensa. 
apixdfxa\a, harmamaxa. 
apfxoyi], harmoge, 
apvevrrip, urinator. 
aporrip, arator. 
ixporpov, aratrum. 
apTrdyr), harpago. 
apiraarov, harpastum. 
apiTif], falx ; harpe. 
aprrrj Kapxapodous, falx 

denticulata. 
apre/noov, artemon. 
dpTodriKT], panarium. 
apTohdyavop, artolaga- 

nus. 

apTouTT], artopta. 
&pros, panis. 
apx^ifJ-os, archimimus. 
aaiXXa, jugum, 2. 
a<TKavAr)s, ascaules. 

, utricularius. 

affnidioi/, utriculus. 
a(TKoirl}pa, ascopera. 
aiTKds, uter. 
a.(TKU))Aa, folliculare. 
ao-iraXievs, hamiota. 
ao-iridr)(p6pos, clipeatus. 
cL(rmStov, clipeolum. 
'XcriTis, clipeus. 
aaTpafirjAaTTis, mulio, 2. \ 
'}.<TrpayaXl(ovTes, astra- j 

galizontes. 
aarpdyaXos, astragalus. ! 



aarsdyaXos, talus. 
"ArXavTes, Telamones. 
arpaKTos, fusus. 
avde\p7]i, authepsa. 
avXaia, aulaea. 
avXeios dvpa, janua. 
avX-f], aula. 
avXr]Tr]s, tibicen. 
avXrjTpis, tibicina. 
ay Aos, tibia. 

avXbs dvZp-q'ios, tibia dex- 
tra. 

avXbs yvvaiKTj'ios, tibia 

sinistra. 
avXwdos, aulcedus. 
avXwTris, galea, 7. 
avroirvpos autopyrus. 
d(peats, s»,e under Hippo- 

dromus, and Stadium. 
acpf), haphe. 
acpiepcao-is, consecratio. 
cupXaarov, aplustre. 
acppaKTov, aphractum ; 

navis aperta. 
'Acppodirr], Venus. 

B. 

QatcTTipiov, bacillum. 
Bdnrpov, baculus. 
Bdicxy, Baccha. 
BaXavelov Sthaoctiov, bali- 
neae. 

IdtuTtKov, bali- 

neum. 
BaXavevs, balneator. 
fiaXdvriov, crumena. 
Bduavcroi, sellularii. 
(SdpfiiTos, barbitos. 
Qapis, baris. 
/3aaavia-T7]S, tortor. 
fiavtcaXis, gillo, 
Ba<pe7ov, baphium. 
fieXovri, acus. 
jSe/ijStl, turbo, I. 
fir)Xos, limen. 
Byv-a, pulpitum, r. 
$i$Xio0r}K7), bibliotheca. 
BiBXtov, libellus, I. 
BiBXioirwX-r\s, bibliopola. 
pifiXos, liber. 
Bids, arcus, 1, 2, 3. 
BoavXos, bubile. 



BoXis, catapirates. 
B0Ta.vMTfj.6s, runcatio. 
BovkoXos, bubulcus. 
BovTvpou, butyrum. 
BpaBeiov, brabeum. 
BpaBevrris, brabeuta. 
Bp€<poTpo<p(?ov, brepho- 

tropheum. 
Bpoxos, laqueus. 
BvKaurj, bucina. 
BvKavrjTris, bucinator. 
BtoXoKoiria, occatio. 
BojXok6ttos, occator. 
Ba>[x6s, ara. 



yataov, gaesum. 

ydixos, nuptiae. 
I ydpov, garum. 
J yavXos, gaulus, i. 
j yavXos, gaulus, 2. 

, cupa, I. 

yavo~dirr)s, gausapa. 

yelo-o-ov, projectura. 

ytppov, gerrae. 

yecpvpa, pons. 

yzQvpoTTotSs, pontifex. 

ylyyXv/xos, ginglymus. 

yiyypas, tibia gingrina. 

yXvcpavov, caelum. 

yXuiaaa, yXcarris, ligula, 

T 

y6/j.(pos, gomphus. 
yvwfxoov, gnomon. 

, groma. 

yvoopicrfiara, monumen- 

ta, 3. 
ypapLpLarevs, scriba. 
ypa/ufxariKos, literatus, 

4- 

ypa/Li/j.aTd(p6pos, tabel- 

larius. 
ypaixiAT), linea, 4. 
ypacpr), pictura. 
ypacpevs, pictor. 
ypacpiov, graphium. 
ypacpis, stilus. 
ypliros, yptcpos, griphus. 
ypocr(po/xdxoi, velites. 
ypocrcpos, hasta velitaris. 
ypty, gryps. 
yvaXodu>pa£, lorica, I. 



GREEK AND LATIN INDEX. 



737 



yvaXov, pectorale. 
71/77 bura. 

yvfj.vao-ia.pxos, gymnasi- 

archus. 
-yvix.va.aiov, gymnasium. 
yvav6s, nudus. 
yvvaiKeTov, gynaeceum. 
yvvaiKoovlTts, gynaeconi- 

tis. 

yupvrSs, corytus. 
A. 

SaSoCxos, daduchus. 
Zaijxouiov, daemonium. 
dai/acov, daemon. 
£ ats, taeda. 
daKTvAridpa, digitale. 
5aKTv\iodi]Kri, dactylio- 

theca. 
Sa/tTuAios, rjiulus. 
hava, acapna, coctilia. 
Zdivebov, pavimentum. 
dapeiKos, daricus. 
SeiTTvov, coena. 
SeK7]pr]s, decemremis. 
8e£i6(rsip(js. see under 

Funalis equus. 
8eajLLds, vinculum. 
5-o/j.apxos, demarchus, 

tribunus plebis. 
SidfiaOpov, diabathrum. 
b~iafir}TTis, circiuus. 
bidd-qjxa, diadema. 
hia&jxa, cinctus, I. 

, cingulum, 5- 

— , subligaculum. 

, praecinctio. 

SidOvpov, prothyrum. 
Blaira, diaeta, I. 

'SAwacrfjia, diapasma. 

dtdaTvXos, diastylos. 

SiaTovoi, diatoni. 

hidrprjTa, diatreta. 

SiSaaKaXelov, ludus. 

Sfipaxpov, didrachmum. 

oidvpos, biforis. 

SiKacrrripLov, tribunal. 

blxeXXa, bidens. 

biKpavov, furca, I. 

5'ucpoTos, biremis, 2. 

SiKTvStov, reticulum, 1. 

Uktvov, rete. 



oIkwttos, biremis, 1. 

Si/xdxai, dimachae. 

8ijui.dx<upoi, dimachaeri. 

ZiIa4twivos, bifrons. 

Si/xtToi, bilix. 
j b"ifj.v£os, bilyclmis. 
j Sivos, sinum 

Siunrpa, aioptra. 
j 8«rA.a£, SnrXo'ts, diplois. 
I SlttAw/xo., diploma, 
j S'nrpwpos, biprorus. 

d'nrrspos, dipteros. 

Siirrvxa, diptycha. 

di<TKo()6Ao<>, discobolus. 

SteiCGs, discus. 

, superficies, 2. 

! bi<pQ4pa, membrana, 2. 
! 5i(ppiaKos, sedecula. 
1 8i<ppos, sella. 
! oieppos dyKvXoirovs, sella 
I curulis. 

i biQpos KaTacrTeyos, sella 

1 gestatoria. 

i vixa\Kov, dichalcon. 

I 8.WT77, diota. 

! I6\<av, dolon. 

oopirov, coena. 
: dopvdpeiravov, faix mura 
j lis. 

dopv<p6po'- . doryphorus. 
! dpdy/ua, manipulus. 
i dpax/J-y, drachma. 
I hpzivdvov, falx. 
j b~pziravri<p6pos, falcatus. 

dpofiwv, dromon, 
j bpixpaarov, cancelli. 

dw/ndriov, dormitorium. 

E. 

eyyvQ-})K7), incitega. 

ZyKapna, encarpa. 
j iynavo-TiK-f), encaustica. 
j eyKGvrpis, calcar. 
I e^/cdjUjSw^ajencomboma. 
! iyx^ip'i-o'iov, pugio. 
j eyxos, hasta. 
! eSa</)os, pavimentum. 

efya, sedes. 

elo-iiXao-riKov, iselasti- 
cum. 

kKarovrdpx^, centurio. 
iKjj.aye'iov, mantele. 



eKTuiros, ectypns. 
€\aiudf<nov, elaeothe- 
sium. 

ekarrip, clavis trochi. 

eAeVoAis, helepolis. 

e'Az|, cincinnus, 

— - — , helix. 

, voluta, 2. 

i\Xip.€i>i(TTr]s, portitor. 

4Xx6(3iov, inauris. 

iKXvxviov, ellychnium. 

eXvfxa, dentale. 

eXv/xos, tibia curva. 

ejx[iAr}fxa, emblema. 

epfioXoL, rostrum, 2. 

%/j.fioXos, rostrum. 

\ , embolus. 

I , cuneus, 5. 

i iiATtiXia, impilia. 

e/j.irA(KTOV, emplecton. 

ipmopiov, emporium. 

e/uiropos, emporus. 
; ivbpofxis, endromis, 3. 

evSv/ia, indutus. 

£vst}}, fibula. 
I iv-f\Xarov, sponda, 
j ivddiov, plaga. 
j ZvoiTTpov, speculum. 

ivunov, inauris, 
e|e'Sjpa, exedra, 
i^eSpiov, exedrium. 
I tkrfpyS' hexeris. 
! ij-wfjLis, exomis, tunica 
, 3- 

i^warpa, exostra. 

tirifidQpa, pons, 5- 

i-KifSdrai, classiarii. 

I , epibatae. 

j iirif3Xr}fxa, amictus. 

, pallium, 1. 

, stragulum, 2. 

i-^idenrvts, epidipnis. 

i-Trihpouos, epidromus. 

iiridaXd/jLiov, epithala- 
mium. 

iir'ide/Lia. Xvx uov > super- 
ficies, 2. 

rplirodos, cortina, 

2. 

e-xiKpavov, capitulum. 
iiriKpiov, antenna. 
iiriKpoicov, epicrocum. 
iiriaooTTos, epicopus. 
3 A 



738 



GREEK AND LATIN INDEX- 



eiriKcviros, navis actuana. 
iniovpos, epiurus. 
e7Ti(T7ra(7"T7?p, ansa, 2. 
iirL<TToXr}, epistola. 
€-ki(Tt6iaiov, epistomium. 
€Tri(TTv\ioy, epistylium. 
iTricrcpvpioi', luna. 
iiviaoiTpov, canthus. 
eirirovoi, instita, 3. 
iirirovos (sc. t/uos), cha- 

latorius funis. 
iirirvpou, epityrum. 
inixvais, epichysis. 
4irox*vs, sufflamen. 
eTTTrjprjs, hepteris. 
iir&fils, tunica, 4. 
ipycMTT-qpiov, officina. 
4pydri]s, ergata. 
ipyoAdfios, redemptor. 
epelcr/xara, anterides. 
iperTjs, remex. 
iper/xos, remus. 
'Ep/u.a.7, Hermae. 
4 aria, focus. 
kariacTLs, convivium. 
4cr(paipa!fj.4vos, praepila- 

tus, I. 
eVx^pa, focus. 
4axdptou, foculus, 2. 
€1^77, lectus genialis. 
€varvAos, eustylos. 
evxuAi/jLcuoi, soldurii. 
icpairris, sagum. 
i(piri$$lov, ephebeum. 
4(pT)fAtp'is, ephemeris. 
icpimrioy, ephippium. 
ecpopoi, ephori. 
€(pv<pT), subtemen. " 
exeTA7j, stiva. 
4x"tfos, echinus ; and see 

wider Lupatum 
eif^a, defrutum, sapa. 



Z. 

G4fia, zema. 
(evy-q, tibiae pares. 
£vyios 'liriros, jugalis 

equus. 
(tvy'irai, see under Tri- 

remis. 
Cvyodecrp-os, cohum. 



£vy6v, jugum. 
j GvQos, zythum. 
j (ooypeloy, vivarium. 
J (covti, cingulum, 2 and 
4 ; zona. 

£wviov, zonula. 
; £wvottA6kos, zonarius. 
I (wo<p6pos, zophorus. 
j (o*p6i>, merum. 
i &<nrip, cingulum, 3 & 4. 

H. 

tiO/ulos, colum. 
r\Aa.KXT7), colus. 
riKiaarripiov, solarium, 2. 
riAioKdfjLivos, heliocami- 

nus. 
?)\os, clavus. 
7}/j.€p6noiTos, dormitator. 
y/AepoAoyiov, calenda 

rium. 

7)LiidwpdKiov, pectorale. 
^iui/cy«:Aioj/,hemicyclium. 
Tjfx'ipa, hemina. 
riixiofioXos, hemiobolus. 
rj/jLioAia, hemiolia. 
7]f.uovr]y6s, mulio, 2. 
T]viai, habena, I. 
Tjvioxos, agitator, 2 ; au- 
, riga. 

TliraToaKdiros, extispcX. 
Tipyov, herouro.: 



Odnos, forica. 
daAa/xriyos, thalamegus. 
daXa/jLLTai, s*e tmder 

Triremis. 
QdKaixos, thalamus. 
daXaaair-qs, thalassites. 
davncLT otto ios, praestigia- 

tor. 

dearpov, theatrum, 2. 
I Qepiarris, messor. 
depiarpiov and d4piarpou, 

theristrum; pallidum, 

2. 

Qtpixai, thermae. 
depuoirdohiov, thermopo- 
lium. 



6-riKii, theca. 

drjpa, venatio. 

6r}pa.T-/is, venator, I. 

6vpiop.dxris, bestiarius ; 
venator, 2. 
I do\os, tholus. 
! dpavirai, see under Tri- 
remis. 

Qpiafx^os, triumphus. 

dpi£, crinis. 
1 0ptVa|, ventilabrum. 
i dpovos, solium, thronus. 

OpuaWis, ellychnium. 

9vds, dvids, thyas. 

QvKo.kos, bracae, 2. 

Qvixiai-qpiov, turibulum. 

dvfxeA-n, thymele. 

QvpLtXiKoi, thymelici. 
I dvpa, ostium. 

Ovpa avketos, janua. 

Oipai didirpiaTot, valvae. 

dvpeos, scutum. 

Qvperpov, foris. 

dvpis, fenestra. 

dvpls SikAis, fenestra bi- 
foris. 

dvpaos, thyrsus. 

Bvpu/jLa, thyroma. 

dvpwpos, janitor. 

, ostiarius. 

dvaavoi, fimbriae. 
! duaavwros, fimbriatus. 

dvT-qpiov, ara. 

6vt7]s, popa. 
! 6cvfAi£, tomix. 
i Qwpdiiiov, loricula. 

j , pluteus, I. 

I =-— , carchesium, 2. 

dwptxKocpopos, thoracatus. 

Qu>pa£, lorica. 

j (TTaSios, lorica, 2. 

! \emSwTos, lorica, 

— (poAidwros, lorica, 

4- 

aXvaidwTL s,lorica, 

8. 

Aiveos, lorica, 9. 

I. 

laTpa\e'nrTT]s, iatralipta. 
larpos, medicus. 



GREEK AND LATIN INDEX. 



739 



47877, pila, I. 
iepeiov, hostin. 

, victima. 

Upzvs, Upeia, sacerdos. 
Upov'iK7]s, hieronica. 
Upoaxoiros, haruspex. 
iepo(l)ai'T77s,hierophantes. 
Upo<pv\atciou, sacrarium. 
Upo<pvha%, aedituus. 
iKerripia, velamenta. 
i\rj, turma. 
IfxduTLOv, copula, I. 
lp.ds, lorum. 

, caestus. 

, corrigia. 

lfj.aTioK\4iTTT]s, balnearis. 
ip.ar io<pv Aa£, capsarius, 2. 
Ifx&nov, amictus. 

, pallium. 

l^vrris, auceps. 
Us, sagitta. 
lbs \a\Kou, aerugo. 
liTvos, laterna. 

, ramus. 

iTnraywyoi, hippagogi. 
iirirevs, eques, I. 
IttttIixt pos , equarius me- 
dicus. 

iir-n-oSpo/nos, hippodro- 
mus, 2. 

i-mroKd/xTTos, hippocam- 
pus. 

liriroKevTixvpos, hippocen- 

taurus. 
iir-noKoixos, agaso. 
Itnro-Kripa, hippopera. 
inirocrTacris, equile. 
lir-KOTotoTqs, hippotoxo- 

ta. 

IcroSo/xos, isodomus. 
'kttlov, velum. 
iaro&ozvs, temo, 2, 
lotos, malus. 

, tela. 

Icttwv, textrina. 
lx,Q'oorpo(p€7ov, piscina. 
Ixvoypacp'ia, ichnogra- 
phia. 

K. 

KayKava, coct'lia. 
ndSos, cadus. 



KdoovAos or -wAos, Ca- 

millus. 

[ tcaOedpa, cathedra. 

KaSirrjp, catheter ; fis- 

tul/, 4. 

ndberos, perpendiculum. 

KCLKKafirj, caccabus. 

KaAados, calathus. 

KaAafxis, calamarius. 

, calamister. 

ndXafios, calamus. 

KaXdirovs, forma, 5- 

— , tentipeliium. 

KaXiKios, calceus. 

ndAAwrpov, scopae. 

KaXoBduuv, ) - r , . 

, a , > grahator. 
Ka.Aopa.Tiis, j 

KaAms. urna. 

Kd\vu.j.La, calyptra. 

KaAvirriip, imbrex. 

; KaXvTrrpa, calyptra. 

Kakxv, voluta, I. 

Ka.\<L§iov, see under Hip- 

podromus, p. 337. 

ndAoss, rudens. 

Ka\wo-rp6(pos, restiarius. 

fca,ua|, hasta graminea. 

, vallus. 

Kajxdpa, camara. 

ndfxivos, caminus. 

, fornax. 

z?./j.TrTTip, meta, I. 

tidvzov, /cay7js,canistrum. 

Kavr,<popos, canephora. 

ndvdapos, cantharus. 

KavQ-qXia, clitelke. 

KO.V0VV, canum. 

Kavwv, regula. 

KcnrriAtlov, caupona, 2. 

KairrjAis, caupona, 2. 

Kapfidnvai, carbatinae. 

Kap8io<pvAa£, pectorale. 

ndpiiapov, career. 

KapTCLcros, carbasus. 

Kap-Kohzo-pa, manica, 5- 

KarucmSes, Caryatides. 

Kap(pajxdriov^ merga. 

/capx7](Tioi', carchesium. 

Kaaavp-a, fulmenta. 

Karayp.a, tractum, I. 

Kardypa<pa, catagrapha. 

Kardirv^, cudo. 

KaraKetp-ai, accubo. 



KaraK\'ivufj.ai, accubo. 
KardKAims, accubitio. 
KaraTTeAT-qs, catapulta. 
icara-rreATiKos, catapulta - 
rius. 

KarappdKTrjs, cataracta. 
nardo-KOTTos, catascopus. 
Ka--darpwua, constratum 
navis. 

KaTacppaKrrjs, cataphrac- 
ta. 

KaT d(ppa,KTTj s, cataphrac- 
| ta. 

Karonrpou, speculum. 

KaTopv^is, humatio. 

ko.tgx*vs, pessulus. 

KaTaijj.l((v, catomidio. 

KauAos, scapus, 5- 

navala, causia. 

leaver pa, bustum. 

, uscrina. 

Kavrrip -I'lpiov, cauter, 
erium. 

fta\pidpu)Tiov, sudarium. 

Ktipia, fascia, 6. 

KeKpv<paAos, reticulum, 2. 

Kekeva/xa, celeusma. 

KeAevo-TTjs, hortator. 

kcavjS, celes, I. 

nevordcpiov, cenota- 
phium. 

Kipraupos, centaurus, 

Kcvrpov, stimulus. 

KevTpwv, cento. 

Kepafxevs, hgulus. 

Kepduiov. testa. 

KepapLov, fictile. 

Kepaixos, tegula. 
j tcipas, cornu. 
j Kepas 'Ap.aA9eias, cornu 

copiae. 
: KeparavAris, comicen. 

Kepfiepos, Cerberus. 

tcepnis, radius, 5. 

, cuneus, 3. 

, KtpKovpos, cercurus. 

nepovxoi, ceruchi. 

Kearos (sc. t/J-ds), cestus. 

K€o-r)poa<p€v5ovn, cestro- 
sphendone. 

Kearpov, cestmm. 

Ki]Aav, doveiou, tolleno. 
1 Kt)ix6s, nassa. 



740 



GREEK AND LATIN INDEX. 



Kr)tros, hortus. 
Kf)TroTa<$>iov, cepota- 

phium. 
KrjovKeiop, caduceus. 
tcypvl;, ceryx. 
Krjpwua, ceroma. 
Ki&upiov, ciborium. 
KifiwTiov, arcula, 
klBcotos, area. 
KiyK\is, cancelli. 
Kidapis, cidaris. 
Kiddpa, cithara. 
KiOapuTTTis, citharista. 
KiOapio-rpia, citharistria. 
Ktdapw^js, citharoedus. 
kiX'ikiov, cilicium. 
mAAi&as, cilliba, 

, vara- 2. 

KivaiSos, cinaedus. 
KiovoKpavov, capitulum. 
Klpicos, Circu?. 
Kicravfiiou, cissybium. 
k'i'ttt), cista. 

Ki<7To(p6pos, cistophorus. 
k'lwv, columna. 
nAeifiovxos, claviger, 2. 
KXziQpov, pessulus. 
icAels, clavis. 
K\e\pvdpa, clepsydra. 
K\r)jxa, vitis. 

rcAi/Savins, clibanicius 

panis. 
K\'i&avoj, clibanus. 
K\?/j.a£< scalae. 
kKivt], lectica. 
KAivrjcpopoi, lecticarii. 
KAividiou, lectuais. 
kAivikos,. clinicus. 
kAivokovs, clinopus. 
nAioids, foris. 
kAoiol, boiae. 
KAvaT-hp, clyster. 
KAuda}, neo. 
Kva<p€iov, fullonica. 
Kveupevs, fullo. 
nvecpaXAov, tomentum. 
Kvyiixr\, radius, 3 
nvf)ixis, ocrea. 
K.v&'Sa^, cnodax. 
kvgoSoqv, mora, I. 
K^yxv, concha. 
Ko&opvos, cothurnus. 
KolAi) vavs, cavemae. 



KotAiSdecrnos, ventrale. 
Koi/ur/Tripiop, coemete- 
rium. 

Koiv6$iov, coenobium. 

ko'itt], cubile. 

KoAairr-fip, scalprum. 

KoAe6s, vagina. 

tcoAAv&os, collybus. 

KoAAvpa, collyra. 
1 KoAAvpis, collyris. 
j KoAAvpiov, collyrium. 
j noASfiiov, colobium. 
I KoAoKvvOr], cucurbital. 
I koAo<t<t6s, colossus. 

k6Attos, sinus. 

noAviA$r)TT)s, urinator. 

KoAwvri, tumulus, 
j Kojuv, coma. 
! KOfj.'fjTrjs, comatus. 
; KoAafxa, albarium opus. 
! KoviaTos, dealbatus. 

Kovla-Tpa, conisterium. 
I kovtSs, contus. 
' Kovru(popji, contarii. 

Koiravov, pilum, I. 
! koitis, copis. 
I Konpias, coprea. 
j Koirr-f], copta. 
! KoirroirAaKovs, coptopla- 
j centa. 

; Kopa£, corax ; corvus. 

/cop5a£, cordax. 
! ttSpri, pupa. 
! Kopvfxfios, corymbus. 
j Kopvu7], pedum. 

, clava, 4. 

I KopvP7)Tr)s, claviger, I. 

Kopvs, cassis ; galea. 

Kopwvn, ansa, 2. 
j Kopocvis, corona. 
I Koarttivov, cribrum. 
j KD<T/j.y]rr]s, cosmeta. 

K0(TjX7]Tpia, cosmetria. 

j , ornatrix. 

1 kStt/xPos, cottabus. 

kotvAt], cotyla. 
' ( Kovpe?ov, tonstrina. 

Koupsvs, tonsor. 

Kovpevrpiu, tonstrix. 

Kovpi/uL09, tonsus. 

k6$ivos, cophinus. 

KoxAtdpiou, cochlear. 

KoxA'tas, cochlea. 



j KpaRaros, grabatus. 
j Kpavos, galea. 

k par -tip, crater. 

Kpedypa, creagra. 

Kptovpyos, lanius. 

KpewTitiALov, laniarium. 

Kpri^^jj.vov, calantica. 
I Kprjiris, crepida. 

! , crepido. 

j upios, aries. 

KpoKt], subtemen. 
! kpoku>t6u, crocota. 
I KpoKvs, lacinia. 
i Kpoacrol, fimbriae, 
j KporaAiov, crotalium. 
j KfJraAov, crotalum. 
1 .ipcvire^ai, sculponeas. 
I Kpovrr4(ia, scabellum, 3. 
j Kpova/nara, crusmata. 

KpvTTTT), crypta. 
j KpwfivAos, crobylus. 
I KTeis, pecten. 
I K-epuTTrjs, libitinarius. 

Krr)vla r tp>s, mulomedi- 
I cus. 

\ KvaQos, cyathus. 

j Kv^pviir-ns, gubeniator. 

j HvBiTrrfT-fjp, cernuus. 

J kv&os, tessera. 

i KVKr]9poi>, rudicula. 

j , rudis. 

KvicAas, cyclas. 
j kvkAos, circulus. 

I , cortina, 2. 

I nvKAoojxa fivpooTovov, 
1 tympanum, 1. 
I nvALvUpos, cylindrus. 
1 kvAi]~, calix. 
! kvAixvt), culigna. 
I Kvixdriov, cymatium. 
j KvfifiaAlcr: pia, cymbalis- 
tna. 

j Kv/u8aAov, cymbalum. 

j icv;j.fii], cymba. 

! Kvjx&iov, cymbium. 

j kvv4t], galerus. 

j Kvvqyerris, venator, I. 

j KvvrjyeTis, venatrix. 

! KvvoK4(pa\os, cynocepha- 

j lus. 

k vpTt] , nassa. 
j tcvans, vesica. 
1 K&§oov, tintinnabulum. 



GREEK AND LATIN INDEX. 



741 



Kco/nacrTrjs, commissator 
KujuLT], vicus. 
k&ixos, commissatio. 
koovos, conus, apex, 2. 
Kuvonreccv, conooeum. 
KCtiirn], capulus, I. 

, cupa, 2. 

, remus. 

/c«7T7?AaT77s, remex. 



A. 

AaBii, ansa, I. 
Aafivpivdos, labyrinthus. 
Adyavov, tractum, 2. 
Adyyvos, lagena. 
Aayorpo<puov, lepora- 

rium. 
AaywfiSAov, pedum. 
\olkkos, lacus, 4. 
Kafiiat, lamia;. 
Aa.fj.Trds, lampas. 
Aa/nTTT?) p , candelabrum- 

3* 

Aapca£, conditorium, 2. 
Adaavov, lasanum. 
Aarofxia, lautumia. 
Adrpis, latro. 
Mj8t}9, lebes. 
AeKaurj, patina. 
AeKTpov, lectus. 
AepBos, lembus. 
AeiraffT-i], lepesta. 
Asttls, squama. 
\evKW(j,a, album. 
A^kvOos, ampulla. 
AtikvOos iAairipd, ampulla 

olearia. 
Ai)ixvlcncos, lemniscus. 
Ar}U€<cu, torcularium. 
Ar\v o^driis, calcator. 
A-qvos, torcular. 
AifiavcoT6<s, tus. 
Aifiapoorpls, acerra. 
AiBvpvis, liburna. 
\i6ol36Aov, ballista. 
AiQo£6os, lapidarius. 
AiQSarpunov, lithostro- 

turn. 

AiBovpyos, lapidarius. 
AiKvapiov, vallus, 5. 
A'ikvov, vannus. 



Aifiiju, portus. 
Aivoni)pv£, lintearius. 
Aivov, linum. 
AiTvof, lituus, 2. 
Aoyzlov, pulpitum, 2. 
Aoyxv, spiculum, I. 

, lancea. 

Aoyx6<P°pos, lancearius. 
AouTp6u, lavacrum. 
AScpos, crista. 
AvSiuv, ludio. 
?>vkos, lupus. 
Avpn, lyra. 
\vpiirrr\s, lyristes. 
Avxvos, lucerna. 

, lychnus. 

Avxvovxos, candela- 
brum, 1 and 2. 

■ , lyebnueus. 

A(airo$vTT]s, balnearis. 



M. 

lidytipos, coquus. 
jxa^ovofx^lou, mazono- 

mura. 
ptaiavSpos, msean 
fxaivds, msenas. 
[xaKtAAa, ligo. 
pdicfAAov, macellum. 
IxdneAov, maceria. 
fxaAXhs clOAtitov, cirrus, 

2. 

{AavdaAos, pessulus 
/xdvSpa, mandra. 

, pala, 3. 

ndvvos, monile. 
/japaviriou, marsupium. 
fxaaTiyo(p6pos, mastigo- 

phorus. 
fidari^, flagellum. 
dtfTpayaAGOTii, fla- 

grum talis tessellatum. 
luaTTva, mattya. 
/xdxaipa, macbaera. 

, culter. 

8t7rA77, forfex. 

fxaxct'ipiov, machserium. 

, cultellus. 

ixaxcupcxpopos, machsero- 

phorus. 



fxedt/Avos, medimnus. 
fxfAavdSxv, atramentari* 
um. 

fX€Ata<ra>v, apiarium. 
jueVajSo^, subjugium. 
/xeadyKvAov, ansatum te- 
lum. 

fx4aavXos, mesaulos. 
[xeaoarvAiov, intercolum- 

nium. 
fxeraBaTTis, desultor. 
fAtTaAAov, fodina. 
P.€t6ttt], metopa. 
fttrpTjTTjs, metreta. 
fxriAy, specillum. 
ixnp6s, femur. 
fXT]Tpa, vulva. 
fX7)xwh, machir.a. 

■ CLKpoBcLTlKT], SCail- 

soria machina. 

fxlros, licium. 

fx'npa, mitra. 

, cingulum, 4. 

fj.irp7]cp6pos, mitratus. 

fxirpiov, mitella. 

fj.u7]/j.a, ) monumen- 

/j.vrifj,e?ou, J turn. 

jxoA6x^r], molochina. 

fj.o\vB$is, glans. 

fj.6i>av\o$, monaulos. 

fAOPTjpris, moneris. 

ixovoypaixjxos, mono- 
grammos. 

fxopoKporos, moneris. 

(xovoAiQos, monolithos. 

t-iovofxaxoi, gladiatores. 

fj,ovojjLaxorp6<pos, lanista. 

fxouS^vAos, monoxylus. 

fxov6ivi^pos, monopteros. 

Iaovoxltuiv, tunicatus. 

fj.ovoxpd'fj.aTa, mono- 
chromata. 

IxopfxoKvKilov, larva, 2. 
! Movaelou, Museum. 
I ixovaslov, musivum. 
! (uoxAos, vectis. 

uvKTiip, myxa. 

fj.vAr], mola. 

fivAwv, pistrinum. 

fxv£a, myxa. 

fxvp/j.7]^, caestus. 

fivpoTrd-A-ns, unguenta- 
rius. 



742 



GREEK AND LATIN INDEX. 



nvcrrayuoyos, mystago- 

gus 

jjivarris, mysta. 
/jLvarpou, mystrum. 
fivw\p, calcar. 



N. 

CT. nablia and 
vavAa, > , . 

[ naulia. 
vavAov, j 

vdvvoi, nam. 

vaocpvXa^, aedituus. 

vapQ-f]^ ferula. 

papdrjKLOv, narthecium, 

vavapxos, navarchus. 

vavttXripos, nauclerus. 

vavAov, naulum. 

vavfiaxio,} naumachia. 

vavirfftiov, textrinum, 2. 

vavs, navis. 

Kard(ppaKTr], navis 

tecta. 

— — fxaKpd, navis longa. 
(TTpoyyvAri, navis 

oneraria. 
^avaraO/jLou, navale, 2. 
vefipts, nebris. 
veKpoKavcTTris, ustor. 
vevpo&aTrjs, neurobata. 
szvpov, nervus. 
vevpoairacrTov, neurospa- 

ston. 
vew, neo. 

vtcoKopos, neocorus. 
vecopioi; navale, I. 
vi)Q(ii, neo. 

wqcrcroTpocpelov, nessotro- 

phium. 
viK7)Tripiov, niceterium. 
vopLtvs, pastor. 
Nv/jMpaiov, Nymphaeum. 
vv/u.<prj, nupta. 
vvaaa, meta, I. 
V(cTO(p6pos, bajulus. 



|eVxa, xenia. 

levodoKeTov, caupona, I. | oktcmttvaos, octastylos. 



^evoooKos, caupo. 
£€(tt6s, rasus. 
l«podriK7), vagina. 
£l<pos, gladius. 

eTCiKauires, sica. 

tvAoKOTria, fustuarium. 
£i>AoTre8ri, nervus, \. 
£,vpou, novacula. 
^vcrrdpxys, xystarcha. 
ZvariKos, xysticus. 
^varis, palla. 
\v(ttov, hastile. 
Ivcttos or -ov, xystus, 
I. 

^ucTTpis, strigilis, i . 
, stria. 



6$e\'i(TKos, obeliscus. 

, veruculum. i 

o/JeAos, veru, I. 
bffoAos, obolus. 
oyKos, superficies, I ; 

uncus . 
b^ovrdypa, dentarpaga. 

, forceps, 3. 

obovToyAvcpis, dentiscal- 

pium. 
oSous, dens. 
uCos, nodus, 7. 
odour], linteum. 
6Q6viov, linteolum. 
oifa£, ansa, 5- 
oiKriixara, carceres. See 

under Hippodromus. 

.P- 338- 
oinos, oecus. 

, domus, 2. 

olvewv, cella vinaria. 
oivorrwAiov, cenopolium. 
olvo<p6pov, cenophorum. 
oivocpSpos, cenophorus. 
oluoxoos, pincerna. 
oIottoAos, opilio. 
oIox'ltcdv, tunicatus. 
oicTTos, sagitta. 
OMtivosKoiros, augur. 
oKpipas, canteriolus. 

pulpitum, 2. 



bXaos, cortina, 2. 

, mortarium, I. 

6/j.aAHTTrip, rutellum. 
ltu(pa\6s, umbilicus. 

, umbo, 1. 

ovrjAanis. agitator, I. 
uuos, catillus, 2. 
o£is, acetabulum. 
d^Pacpov, acetabulum. 
b^vKparov, posca. 
biral, columbarium, 5. 
vireas, subula. 
birr], opa. 

bmaOoypacpos, opistho- 

graphus. 
biricrdobo/JLos, opisthodo- 

mus. 

67rAo5i5aKT77S, campi- 

doctor. 
oTTAofxaxos, hoploma- 

chus. 
bmdviov, culina. 
opyavov, organum. 
bpeono/uLos, mulio, I. 
bpdo- pa<pia, orthogra- 

phia. 
bpdocnaSias, recta. 
cpdovrdrris, orthostata. 
opKTj, orca. 
opioid, linea, r. 
op/xos, portus. 
bpvi6evTr)s, auceps. 
bpviQwv, ornithon. 
i opo%, orbis olearius. 
bprvyorpocpos, lanista 

avium. 
bpvKTrjs, fossor. 
bpxV< TTO ' !r oAos, orchesto- 

polarius. 
opxyvis, saltatio. 
opxy<n"f}s> saltator. 
bpxvo-rpa, orchestra. 
opxyo-rpta, saltatrix. 
bcrrpdniov, testa. 
ovynia, uncia. 
ovBwu, udo. 
otiAos, manipulus. 
obpavos, ccelum. 
ovpiaxos, spiculum, 3. 
oxeus, see tinder Cudo. 
\ oxniJ-o., vehiculum. 
b^oircoAuov, popina. 
c\i/oTrw\r]s, macellaiius. 



GREEK AND LATIN INDEX. 



743 



II. 

tray k par iou, pancratium. 
ivdyos, pagus. 
■n a& ay wy 6s, peedagogus. 
ira\cu(Tixa> lucta. 
iraKaiarpa, palaestra. 
iraXain-TpLKus, palaestri- 
cus. 

ira\ai<TTp'iTT)s, palaestrita. 
■jraAd/j.7}, palma, I. 
iraXevT-qs, illix avis. 
iraXr], lucta. 
iraXiyKa-KriXos, institor. 
iTaXifx^/r\(xros, palimpse- 

stus. 
TTaXXaKT), pellex. 
TrafjL/j.dxtov, pancratium. 
iravhoKeiov, caupona, * 

, stabulum, 2. 

vavdovpa, pandura. 
■jrai>T6 l ui[j.os,pa.ntc mimus. 

, saltator. 

■napa-yvadls, buccula. 
irapa^ctivio, , parazonium. 
irapair^raa-fxa, velum, 4. 
irapdcreipos, funalisequus. 
irapdcrriixov, insigne, 2. 
rrapdaraSes, antae. 
■Kapaards, parastas. 

, postis. 

irapariXrpios, alipilus. 
Ttap-hopos, funalis equus. 
rrdp/u.ri, parma. 
ndpoxos, parochus. 
irapoipls, paropsis. 
irapiKpr], limbus. 

, clavus, 7. 

TrapcoTis, ancon, 2. 
wdcrcraXos, palus. 

, paxillus. 

iracrrcHpopos, pastopho- 

rus. 

irarayelov, patagium. 
7re'S7j, pedica. 

, compes. 

netiiXa, talaria. 
neXeicTuos, securicula, 2. 
tt4X€kvs, securis. 

SiVto/xos, bipen- 

nis. 
ireXis, pelvis. 
■nsXracnris, peltasta. 



TreXrr], pelta. 
7reVTa0Ao!A,quinquertium . 
TT(VT6.<rira<jTos, pentaspa- 
stos. 

Trevreavpiyyos, colum- 
bar. 

Treurriprjs, quinqueremis. 
ireirXov, peplum. 
, palla. 

a rJ , palnum, 
Trepi@oXatoi>,J v ' J 

TrepiQoAos, sacellum. 
trepifipa.xt-6viov, brachi- 
als 

TreptdeLTTvov, silicernium. 

wepiSepaiov, collare. 

irepifafia, cinctus • cin- 
gulum, 5. 

TrepirjyrjT7}S, mystagOgUS. 

irepiKapntov, armilla, 2. 

TrepiK€(pdXaLov, galea. 

, Xnov. cudo. 

Trep. Kvrifiis, tibiale. 

7rept7TTepos, peripteros. 

Trepippavffis, aspersio. 

irepippavTT}picv, labrum, 
4; aspcigillam. 

irepiaKeXi?, periscelis. 

Trepio-Tepewv, columbari- 
um. 

7reptcrTpa> / ur», peristroma. 
TrepiarvXiou, penstylium. 
irepicrcbvpiov, annilla, 2. 
7repoVr?, acus, 3 ; fibula. 
ireaaos, pila, 2. 
iriraaos, petasus. 
7T€Tai/pi<TTT7s, petaurista. 
■niravpnv, petaurum. 
Trriy/ua, pegma. 
7T775aA£oi/.gubernaculum. 
TTvpa, pera. 
■mdavXris, pithaula. 
■nidos, dolium. 
ttiXt)t6s, coactilis. 
luXidiov, pileolus. 
iriXos, pileus. 
TriXo(p6pos, pileatus. 
iTivaKiov, tabella. 

, superficies, 2. 

irivaKoOriKT) pinacotheca. 
TrtVa|, tabula. 

, lanx quadrata. 

TTLcrrpis, pistris. 



■nirraKLOv, pittacium. 
irXayywu, planguncula. 
TrXay'ia vXos, tibia obli- 
qua. 

ttXclkovs, placenta. 
7rAa|, tabula. 
TtXdcTTTj S) plastes. 

, fictor. 

irXdariyt, lanx, 3 
irXaTfla, platea. 
irXrjKTpop. plectrum. 
irXri/j.i/ri, modiolus, I. 
ttXivQivoj, latericius. 
ttXivQos, plinthus. 
, later. 

TtX'lvOoS 07TT77, latd* COC- 

tus. 

— W.U7J, later crudus. 

■nXolov, navigium. 

KOfT&jToV.ratis, 2, 

airaycoyov, cor- 

bita. 

■ (popriKOf, navis 

oneraria. 

■rrpiyevs, pnigeus. 

■rroddypa, pedica dentata. 

TroSavLTTTTip, pelluvium. 

irodelov, fascia, 5. 

■rrodrjpris, talaris. 

TroSoarpd&r), pedica den- 
tata. 

iroXvdvZpiov, polyan- 

drium. 
TroXvfxLTos, polymitus. 
ttoXv/llv^os, lucerna, 3. 
TroXv-n-Tvxa, polyptycha. 
TroXva-iracTTov, polyspas- 

ton. 

■Koitavov, popanum. 
■n-opirr], fibula. 
7roT77p, --t\piov, poculum. 
wovs, pes. 

npaKTopes, coactores. 
npecrBevTrjs, legatus, 2. 
irpioviov, serrula. 
irpicTTTip, prista. 
irpitov, serra. 

Trpo^/euo-TTjs-.praegustator. 
■npoBvpov, vestibulum. 
irpoKoiTwv, procceton. 
irpoKouiov. capronae. 
TTpouercijivL^ioi'.fYontcde, 3. 
■n-povaos, pronaus. 



744 



GREEK AND LATIN INDEX. 



■jrp6Tr\a<Tfx.a, proplasma. 

irpoirviyslov, praefurnium. 

TTpotryvaOiSiov, focale. 

irpotrKecpdXcuov, cervical. 

itpoan-qviou, proscenium. 

irpoaKvvr)(Tis, adoratio. 

, adulatio. 

irpotTTvirov, prostypum. 

irpoacowou or -elov, per- 
sona. 

irpoTOfxi], thorax, 2. 

irporvirou, protypum. 

npoxoos, gutturnium. 

■Kpvjxva, puppis. 

irpcppa, prora. 

Trpcfparris, proreta. 

7TTepa, aures. See under 
Aratrum, 2. 

iTTepov, pinna. 

TTTepoirovs, alipes. 

TTTtpvyes, see under 
Lorica, 2. 

irrepvi-, mora, I. 

irrepcD/xa, pteroma. 

TTTepwro's, pterotus. 

irrvou, pala, 2. 

tttcdxos, mendicus. 

irvy/xaxla, pugilatio. 

irvsXis, funda. 4. 

— , pala, 3. 

irveTia, coagulum. 

irvKvovTvhos, pycnosty- 
los. 

7TU/CT7JS, pUgil. 

irvXr), porta. 
irvXis, portula. 
irv^iou, buxum, 4. 
irv£ls, pyxis. 

, modiolus, 4. 

itv^os, buxum. 
irvpa, pyra. 

, rogus. 

nvpdypa, forceps. 
'irvpa/xis, pyramis. 
irvpyos, turris. 
T?vpiaiTt]piov, laconicum. 
■Kvpp'ixVy pyrrhicha. 
ircoywu'ias, barbatus. 
irwfxa, operculum. 



pafiUov, penicillum. 



pd&8oi, fasces. 
pd&5os, radius, I. 

, virga. 

, stria. 

p"a8bovxos, lictor. 
pd&SaxTLs, striatura. 
pa&dwTos, striatus. 

virga tus. 



pafxcpri, falx, 6. 
oavncrrpov, see under As- 

pertio. 
/3a7i-T7?s, sutor. 
pact's, acus, J. 
: }£dypa, forceps, 2. 
piv-f), lima. 
piiris, flabellum. 
pianos, riscus. 
pofxBos, rhombu?. 

, turbo, I. 

pop.<paia, rhomphcca. 
poiraXov, clava. 
poiTTpov, ansa, 2. 

fiupao-rrayes, sym- 

phonia, 2. 
fcvyxos, rostrum. 
pvadv-f), runcina. 
pv/xa, remulcus. 
pu/jLos, temo, 1. 
pu7rapo7pa^)os,rhyparona . 

graphus. 
purayayevs, habena, 2. 
pvris, ruga. 
pvTov, rhytium. 

2. 

adfiavov, sabanum. 
aay-qur], sagena. 
crdyixa, sagma. 
adyos, sagum. 
aaKKLof. sacculus. 
(TaKkoirripa, sacciperium. 
(Tukkos, saccus. 
laX'ioi, Salii. 
craXinyKTris, tubicen. 
o-aAiriyt, tuba. 

arpoyyvXr/, cor- 

nu, 6. 
jajxfivK-n, sambuca. 
<ran&vKi(TTpia., sambuci- 
cavdaXiou, sandalium. 
aav'ihiov, tabella. 
aavLSwfj.a, coassatio. 



1 aavis, tabula. 

I , foris. 

1 adirwv, sapo. 
I aapdftaXXa, saraballa. 
I (rdpawis, sarapis. 
I adpiacra, sarissa. 
■ <rapi(r<rt>^^os,sarissopho- 
rus. 

! cap/ccxpayo s,sarcophagus. 
J adpoidpov, scopae. 
I (rarpdmjs, satrapa. 
\ aavviov, veru, 2. 

aavpccrrip, spiculum, 3. 
j creipacpopos, funalisequus. 

ifiiaTpov, sistrum. 

ar^XXdarpcaais, sellister- 
nium. 

(reAfiaTa,Ta,transtrum, 2. 
ot)k6s, cella, 7. 
ai]KU)fxa, aequipondium. 
<n)fxcuo(p6pos, signifer. 
<rr)fxe?ov, signum. 

ayKvpas, ancorale= 

crifSvvr), sibyna. 
oriKivvuTTris, sicinnistn. 
ainva, cucurbita. 
aihXvfios, index, I. 
ai^Xo?, alveare. 
(Tivh^v, sindon. 
aipaiov, sapa. 

, defrutum. 

(TKTvpucpopos, pellitus. 
(TiTevrris, fartor. 
(TiTo<pv\a.K<iiov, horreum 

publicum. 
<ri(pu>v, sipho. 
anaXis, sarculum. 
<TKa.Xp.6s, scalmus. 
(TKdp.p.a, scamma. 
ctkclttos, scapus. 
GKd<p7), scapha. 

, cunabula. 

(TKacpiov, scaphium. 
(TKeTrapvifa, ascio. 
(TKSTTapvov, ascia, I. 
<TK€vr], rd, impedimenta. 
(TKr)UT], scena. 

■ , tentorium. 

diaeta, 2. 

<TKr)uoypa<pia, scenogra- 

phia. 

<tk7)ittovxos, sceptuchus. 
OKTiTTTpov, sceptrum. 



GREEK AND LATIN INDEX. 



745 



crmdosiov, umbella. 
anidO-opov, solarium, I. 
crttin-KoSiov, scimpodium. 
(XKirtuv, scipio. 
a/coma, specula. 
cTKopirios, scorpio. 
(TKOTia, scotia. 
GKv\oo4\pr]s, coriarius. 
(THvraXri, scytale. 

— , scutula. 

(Tuvreiov, sutrina. 
(TtcvToStipris, coriarius. 
(TKvcpos, scyphus. 
(Tfxrjuos, alveare. 
afirjuwu, alvearium. 
a/x'iArj, scalprum. 
(TfxiKiov, scalpellum. 
cpuvvr), bidens. 
<tg$t}, muscarium, I. 
airadd\iov, spathalium. 
G-ndQf], spatha. 

, radius, 5. 

Girdpyava, crepundia. 
(rirzipa, spira. 

, manipulus, 3. 

trveos, specus. 
airKayxvoGKoi^os, exti- 

spex. 
<T7chi]viov, splenium. 
<jTTov§a.v\t)s, spondaules. 
airvpidiou, sportella,spor- 

tula. 

crradtevs, -o8p6uus,cursov, 
I ; stadiodromus. 

crdoiov, stadium. 

crdOpm), linea, 3. 

(rrad/jLoi, mansiones. 

crad/xos, stabulum, I. 

■ , pondus. 

, libra. 

, postis. 

otolXis, vara, I. 

orsyaarpov, segestre. 

erTe'777, constratum navis. 

ar4pi.ua, stemma. 

ar4fj.p.ara, serta. 

Gr4p.(pv\a, fraces. 

GTevconos, angiportus. 

(TT6<|)oj'7]7rAo/fos, corona- 
rius. 

<XT€(paut](p6pos, coronatus. 
GT£(pavoTCti)\T}s, corona- 
rius. 



arecpaios, corona. 
GTf]kr], cippus. 
GiriK'iOiou, columella, 2. 
arj]U(av, stamen. 
(rrrjoiy^, -vy^a., furca, 4. 
ffTiypta, stigma. 
aTiy/xaTias, stigmatias. 
GT\eyy'is, strigilis, I. 
arod, porticus. 
ctoAtj, stola, 2. 
(TToAiSes, tabula, 9. 
ar6fi^ju TrpiouaTov, lupa- 
fcim. 

<TTpaTT)ye7oi>, praetorium. 
<npa,Triybs e^air4\(Kvs, 

praetor, 1. 
arpi/ikcorripiov, tormen- 
tum, 2. 
1 (npziTTos, torquis. 
GTpeiTTCKpopos, torquatus. 
<rTp6fx&os, turbo, I. 

<1 >■ • cardo. 
GTpocpiyt,, ) 

GTp6(piy\, scapus cardi- 
nalis. 

(np6(piov, strophium. 

arpa>/ua, stiagulum, I. 

G7 puipLvr], culcita. 

GTvh'is, columella, 
j 0-TuAo/3aT7)s, stylobata. 
i gtvAos, colomna. 
j GTviros, stipes, 
j arrvpa^, spiculum, 3. 

orv)3wT7}s, porcarius. 

avyKviTTrjs, capreolus, 2. 

<rvpiflo\ov, tessera hospi- 
talis. 

(TviA-iroaiapxos, magister, 
4 

gv/j.it6giou, comissatio, 

symposium. 
(ry/x7roT7jj, comissator. 
atudeinyou, convivium. 
zvi/Qecris, synthesis, 
o-i^e^ajtesseramilitaris. 
GwwpU, biga. 
Gvpiy^, fistula, 2 ; syrinx. 
<rvp/j.a, syrma. 
ffvGKrii'ia, contubernium. 
(tvgk7)voi, contubernales. 
erven c&Tcu, canterii. 
(jvgtoKos, systylos. 
a<pa7pa, pila. 



a<patpiaTripiov, sphseriste- 

rium. 
(T<patywTt]p, cqrrigia. 
<j<paipwr6s, praepilatus, I. 
G(pev86vri, funda, I and 4. 
, pala, 3 ; and 

see under Stadium. 
acpevoovrjTai, funditores. 
G(pr}L>, cuneus. 
ctpiyKT-rip, spinther. 
c(p6uZv\os, verticillus. 
acppayis, anulus. 
o<pvpa, malleus. 
(TXeSi'o, ratis, I. 
(TXi'Sa|, scandula. 
^X'St?, scheda. 
axoiv'uov iiriytiov, retina- 
culum. 
a-xofo^SctTTjs, funambu- 
lus. 

<rx oA V> schola. 
g(d\t]u. fistula, 1. 

, canalis. 

— , imbrex. 



T. 

raiuia, taenia. 

, fascia, 9. 

, cingulum, I. 

rdhavTov, libra. 

, lanx, 3. 

raXap'is, quasillus. 
rd\upos, qualus. 
rdTnqs, tapes. 
TapixoTTc!>Ar)s, salsamen 

tarius. 
-rappiov, craticula. 
rapaos, crates. 

, palmula. 

rd(pos, funus. 
TeOpinirop dp/ma, quadriga 
nQoipaiiLGjxivos, lorica 

tus. 

Te?xos, murus. 
t€ktwv, faber. 
reXauwv, balteus. 
T^Kwv-qs, publicanus. 
T€ t udx^ov, tomaculum. 
Teperpov, terebra. 
rex pdSpaxfJ-or, tetra 
drachmum. 



746 



GREEK AND LATIN INDEX. 



TtTpdScapos, tetradorus. 
rerpadupos, quadriforis. 
TCTpaodui/, quadrivium. 
TerpdarvKos, tetrastylos. 
TerpTiprjs, quadriremis. 
TT)$svva, toga. 
rr\yavov, sartago. 
ri)Kia, incerniculum. 
ridpa, tiara. 

TidaaarevTris, mansuetari- 
us. 

rifx-qr^s, censor. 
to?xos, paries. 
ToAvwrj, glomus. 
r6voi, instita, 3. 
T6^€u/j.a, sagitta. 
ro^vw, sagitto. 
to£ov, arcus, 1, 2, 3. 
Topev/xa, toreuma. 
ropvos, tornus. 
Topvvi), trua. 
rpdire^a, mensa. 
Tpaire£'iT7)S, mensarius. 
Tpaire(oTroi6s, structor. 
rpair^ocpopou, trapezo- 

phorum. 
Tpdirrit, trabs. 
rpicuva, fuscina, tridens. 
rpifio\a, rd, tribulum. 
rpifioAos, tribulus ; and 

see tinder Lupatum. 
TpifSwv, tribon. 
TpiyXv(pos, triglyphus. 
rp'iy<avov, trigonum. 
rptTjpris, triremis. 
rp'iKXivov, triclinium. 
Tp't/niros, trilix. 
rptodos, trivium. 
Tpi65uvs, tridens. 
rp'nrovs, tripus. 
rpnrTTjp, orbis olearius. 
rpicnraaTos, trispastos. 
rpiTTva, suovetaurilia. 
TpixoAafiis, vokolia. 
Tpoitaiov, tropaeum. 
-rpoiris, carina. 
t ponds, -wTrip. struppus. 
rpovKXlou, trulla, I. 
Tpox'Aea, trochilea. 
TpoxiAos, scotia. 
Tpox'10-Kos, pastillus. 
TpoxoireSri, sufflamen. 
Tpoxos, irochus. 



rpox^s, rota. 

, orbis, 4. 

TpvfiXiov, trulla, 2. 

, tryblium. 

Tpvyijrrip, vindemiator. 

rpvyrjros, vindemia. 

rpv7]\a, trua. 

rpi)^, mustum. 

rpvirdvLov, terebra, 3. 

Tpvirduov, terebra, 4. 

rpvir^ixara, columba- 
rium, 4. 

TpvTavr), trutina. 

tu/cc 5 or -%os, ascia, 2. 

tvAt), culcita. 

TVfx^av\r}i, siticen. 

rvfxfios, tumulus. 

■ , bustum. 

Tv/xiravio~T7)s, tympanista. 

Tvixiravio-Tpia, tympani- 
stria. 

Tvfxtravov, tympanum. 
TvtxiravoTp'if5r\s, tympa- 

notriba. 
rvnos, forma. 
rvpos, caseus. 
rvpais, turris. 



T. 

vdxipos, vitreus. I. 
uaXoeid^s, vitreus, 3. 
vSpaywyelov, aquaeduc- 
tus. 

vSoaAtTris, hydraletes. 
vb~pavAr)s, hydraula. 
vdpavKos, hydraulos. 
vSpia, hydria. 
v5po<t>6oos, aquarius. 

vomer. 
vnayKuiviov, cubital. 
viraiBpos, hypaethros. 
virapxos, legatus, I. 
uVotos, consul. 
viravx^viov, cervical. 
vTrepai, opiferse. 
virepdvpov, hyperthyrum. 
virepov, pistillum. 
virep&ov, ccenaculum. 
virr]V7fTr]s, barbatus. 

« irpwrov, bar- 

batulus. 



vtroyeiov, hypogeum. 
viroypaQevs, amanuensis. 
viroh-qixa koiKov, calceus. 
inroSrHudTiov, calceolus. 
vTr6(w/j.a, tormentum, 3. 
inro£co,ua.Ta rpi-fipwu, mi- 

tra, 3. 
vno&viov, succingulum. 
vttoCohttos, succinctus. 
uwodujuias, corona, 13. 
vnoKavais, hypocausis. 
vTrSKav&Tou, hypocaus- 

tum. 

vTTottpiTTis, hypocrita. 
! virSvoixos, cloaca. 

, cuniculus. 

! vttottoSiov, scabellum, 2. 

I viroTpaxyAioi', hypotra- 

J chelium. 

■ virovpis, postilena. 

; vpxa, orca. 

I vo-irK-nh,, see under Hip- 

podromus, p. 337. 
I vaads, pilum, 2. 
I v(f>dvT7]s, textor. 
vtyifavos, alticinctus. 

*. 

(paixdaiov, phaecasium. 
I (paiv6\r]S, paenula. 
' <pdneAos, fascis. 
j rpdXayt, phalanga. 
1 (paAapcu, phalarse. 
i r i\os,see under Galea, 8 
i (pavos, fax. 

— — , laterna. 

(paperpa, pharetra. 

(papfxciKoirwhris, pharma- 
copola. 

(papos, pallium. 

(pdpos, pharos. 

(pdo"f)\os, faselus, 

<pd<TKa\os, or -coAos, pas* 
ceolus. 

<pdrvr„ patena. 

<paTV(!>ua, lacunar, I. 

(paTvwTos, laqueatus. 

<peA\6s, cortex. 

ipeperpov, feretrum. 

(periaAeis, fetiales. 

<pid\r], patera. 



GREEK AND LATIN INDEX. 



747 ' 



<pid\rj, lacunar, I. 
(piXvpa, philyra. 
(pi/j-Ss, fritillus. 

, fiscella, 2. 

cpolvitl, palma, 2. 
cpnX'is, squama. 
(pop&eid, capistrum. 
(popeicupopoi, lecticarii. 
(pope7ov, lectica. 
Kar&crTeyov, sel- 
la gestatoria. 
<popT7)-y6s, bajulus. 
(ppda.1, puteus. 
(ppvyavov, cremium. 
(pVKOS, fucus. 
(pvcra, follis, 4. 

(pVCTKT), botllluS. 

(pavaaKos, phonascus. 



X. 

Xa\iv6s, frenum. 

, orese. 

XceA/cetoi/, ahenum. 

, calcarium, 2. 

XaAxela, rd, ahenum, 2. 
XaAntSiKov, Chalcidi- 
cum. 

Xa^KoAoyos, seruscator. 
Xa/J.ou\K6s, chamulcus. 
XapaKr-f}p, character. 
Xapdrcuna, vallum. 
xdp a t> vallus. 
Xapi<TTia, Charistia. 
xdprris, charta. 
XetfJ-ddia, hiuerna. 
Xetpafid^tov, criramax- 
ium. 

XeipiSwr6s (sc. x' 7 "^ 17 )' 

chiridota. 
X ei p' ls > manica. 



X^ip6(xaKrpov, mantele. 
X*ipojA\j\T), mola manu- 
aria. 

XtipoviiTTpov, malluvium. 
X*ipovofx'ia, chironomia. 
Xetpouofios, chironomos. 
Xftpovpy6s, chirurgus. 
X*p (Ttdrjpa, manus fer- 
rea. 

X*^vs, -wwq, testudo. 
■^Xwviov, chelonium. 
X*pvi&ov, labrum, 4. 
X>?A7j, chele. 
XVvtvKos* cheniscus. 
XW°^o<tk€?ov, chenobos- 
cion. 

X»Aiapx»'» rribuni mili- 
tares. 

xfacupa, chimasra. 

Xirwu, tunica. 

aix(piixdcrxo-^os, tu- 
nica, 1, 

6T6jooudt(rx«Aos, tu- 
nica, 2. 

— — - Kapirwros, tunica, 
6. 

rroS-fip-qs, tunica, 7 

ax^r6s, tunica, 5. 

XVTtaviov, tunicula. 

Xitocv'ktkos, tunicula. 
! x^ a ~ LVa > lama. 
I x^ auy 5«Tos, chlamyda- 
tus. 

X^a/j-vs, chlamys. 

XAiScJj/, armilla. 

X V ^V, modiolus, 1. 
i x^wos, forma, 2. 

XoiviKT}, modiolus, I 
and 5. 

X<>pav\r)s, choraules 
j x°P et '«> chorea 
I xfyewis, saltatio. 



Xopriyiov, choragium. 

XopyySs, choragus, 2. 

X°pos, chorus. 
I x^pros, chors. 

Xpuo-eVSera, chrysendeta. 

X^rpa, chytra. 
j x vT poTrovs, chytropus. 

X&fia, agger. 

XWC7), infundibulum. 



\pa\is, forfex. 
\paKrripiou, psalterium. 
\pd\rpia, psaltria. 
ipeXAiov, armilla. 
ip€v8i<r68oiJ.ov, pseudiso- 

domum. 
\p€v5o8'nrr€pos, pseud 

dipteros. 
ipevSodvpov, pseudothy- 

rum. 

^6u5o7rep£7TTepoy,pseudo- 
peripteros. 

\pr](poKAeTrT7)s, T$rr\(poiraiK- 
tt)s, see wider Aceta- 
bulum, 2. 

^rjcpos, calculus. 

xpiadov, matta. 

^iKoKiQapi<Tri]s, psilo- 
citharista. 

xj/iAcodpov, psilothrum. 



a. 

cZSelov, odeum. 
oopzlov, horreum. 
wpo\6yiov, horologium. 
coreyxvrris, strigilis, 2. 
wToy\v<t>is, auriscalpium. 



CLASSED IXDEX, 

CONTAINING 

LISTS OF ALL THE WORDS RELATING TO EACH PARTICULAR CLASS OF 
SUBJECTS INTERSPERSED ALPHABETICALLY IN THE BODY OF THE WORK. 



If the terms collected in this Index are referred to consecutively in the order here set out, 
they will convey to the reader a comprehensive knowledge of everything pertaining to 
any given subject, of all the terms extant which are used in connexion with its various 
parts, and of the distinctions or affinities between such of them as are allied in sense, but 
not actually synonymous. 



The Attire. 

Outward Apparel. Amictus, pal- 
lium, toga, sinus I, umbo 2, lacinia 2, 
contabulatio, ruga, togatus, cinctus 
Gabinus, chlamys, chlamydatus, sa- 
gum, sagochlamys, alicula, paluda- 
mentum, abolla, tribon, exomis 2, 
endromis I, lacernu, c^racalla, nebris, 
reno, pellitus, casula 2, cuculius, bar- 
docucullus, birrus, tegillum, palla, 
tunicopallium, peplum, diplois, cyclas, 
Coa vestis, flammeum, caliptra, rica, 
ricinium, suffibulum, anabolium, cata- 
clista, cento, centunculus, synthesis, 
trechedipnum. — Under- Clothing. Tu- 
nica, tunicatus, nudus, tunirula, 
colobium, chiridota, exomis I, expa- 
pillatus, indusiatus, dalmaticatus, pae- 
nula, sarapis, stola, recta, interula, 
subucula, indusium, intusium, sup- 
parum 2, cingillum. — -Decorative 
Parts. Clams latus, clams angustus, 
patagium, limbus, instita, paraganda, 
plumae 2, scutula 4, segmentum, vir- 
gatus, plagula 3. — Cinctures. Cas- 
tula, encomboma, limus, liniger, 
cinctus 1, semicinctium, campestre, 
yentrale, subligaculum, subligatus, 
cingulum, succingulum, zona, cestus, 
nodus 2, balteus I, cinctus, succinc- 
tus, alticinctus, discinctus, incinctis, 
cinctutus. — Coverings for the Head. 
Petasus, pileum, pileatus, pileolus, 
causia, obbatus, albogalerus, apex, of- 
fendix, tutulus 2, galerus I, 2, cidaris, 
tiara, mitra, redimiculum, mitella, 
caliendrum, calantica, reticulum 2, 
vesica, theristrurn. — Head-bands. Co- 
rona, corolla, coronarius, lemniscus, 
diadema, infula, taenia, vitta, nimbus 
3, spira 2, torulus, frontale 2. — The 
Throat. Focale. — Arms and Hands. 



Manica 4, digitale. — The Bust. 
Fascia pectoralis, taenia 4, niamil- 
lare, strophium, capitium. — Legs. 
Bracae, saraballa, feminalia, fascia 4, 5, 
tibiale, udo, impilia. — Feet. Calceus, 
calceolus, crepida, solea, soleatus, 
soccus, sandalium, baxa, sculponeae, 
gallicae, diabathrum, phaecasium, ta- 
laria, carbatinae, cothurnus, en- 
dromis 3, mulleus, pero, peronatus, 
zancha, amentum 2, obstragulum, ob- 
strigillum, corrigia, ansa 3, ansula, 
luna, clams caligaris, clavatus 2, 
ligula 4, fulmenta. — The Hair and 
Beard. Coma, caesaries, capillus,crinis, 
comatus, intonsus, tonsus, acersecomes, 
antiae, capronae, cincinnus, cirrus, no- 
dus 3, corymbus, crobylus, tutulus I, 
anulus 5, capillamentum, galerus 3, 
gausapa 2, barbatus, barbatulus, ton- 
sor, tonstrix. — Ornaments for the Per- 
son. Anulus, signum 2, funda 4, 
condalium, fibula, inauris, fenestra 4, 
crotalium, elenchus, stalagmium, ar- 
milla, dextrale, dextrocherium, tor- 
quis brachialis, spinther, spathalium, 
periscelis, monile, torquis, bulla 3, 4, 
bullatus, bullula, catena 2, catella. 
phalerae, corona longa. — Sticks and 
Wands. Bacillum, baculus, sceptrum. 
scipio, radius I, virga, vitis, vindicta, 
lituus 2, pedum. 

The Toilet, and Utensils of 
Females. 
Speculum I, fucus, sapo, calamister, 
crinale, pecten 1, discemiculum, acus 
comatoria, volsella, dentifricium, den- 
tiscalpium, dactyliotheca, pyxis, ala- 
baster, unguentarium, diapasma, epi- 
limma, flabellum, umbella, acus, 
axicia, forfex, colus, fusus, calathus, 
quasillus. 



CLASSED INDEX. 



749 



The Nursery, and Sports of 
Children. 
Cunabula, vannus 3, cunaria, 
fascia I, serperastrum, crepundia, 
pupa, plaguncvda, neurospaston, ma- 
nia, ocellata, turbo, trochus, tabula 4, 
oscillatio, ludus literarius. 

The Meals. 
Jentaculum, merenda, prandium, 
ccena, mensa prima, mensa secunda, 
promulsis, gustatio, epidipnis, accubo, 
accumbo, discubitus, lectus triclini- 
aris, triclinium, biclinium, accubitum, 
hexaclinon, sigma, stibadium, cilliba, 
cilibantum, mantele, mappa 1, suda- 
rium, ferculum 1, repositorium, gus- 
tatorium, promulsidiare, focus 4, 
comissatio, comissator, symposium, 
convivium, repotia. magister 4, scurra, 
guttumium, lebes 1, pollubrum. — 
Table Utensils. Acetabulum,, echi- 
nus I, salinum, incitega, cochlear, 
ligula 2, fuscinula. — Plates and Dishes. 
Catinum I, circulus3, mazonomum 2, 
isnx 1, lanx quadrata, paropsis, patina, 
patella, calix 2, alveus 4, discus 2, 
fabatarium, boletar, pultarius, scutella, 
scutra. — Wine Vessels. Acratophorum, 
galeola, lepesta, crater, misiarius, co- 
lum nivarium, saccus nivarius, gillo, 
capis, epichysis, sinum, uter, cupa,tina. 
— Drinking Cups. Poculum, calix, 
cyathus, patera, scaphium, trulla 2, 
calathus 3, carchesium 1, cantharas, 
scyphus, cymbium, cornu 4, rhytium, 
obba, cissybium, batiola.— -Viands. 
Sumen, vulva, coagulum, epityrum, 
garum, salgama, succidia, tucetum, 
tyrotarichus, botulus, farcimen, in- 
sicia, tomaculum, artolaganus, collyra, 
copta, coptoplacenta, placenta, crus- 
tulum, crustum, libum, scriblita, tyro- 
patina, savillum, copadia, cupedia, 
dulcia, butyrum. — Attendants. Tn- 
cliniarches, lectisterniator, praegus- 
tator, structor, scissor, carptor, pin- 
cerna, pocillator. — The Kitchen and 
Cooking Utensils. Culina, camarium, 
clibanus, authepsa, ahenum 1, cor- 
tina 1, tripus, lebes 2, cacabus, chytra, 
chytropus, cucuma, formella, apalare, 
craticula, veru, varae 3, sartago, hir- 



nea, infundibulum, olla I, trua, radi- 
cula, orca, pila, mortarium, pilum, 
pistillum. 

The Houses. 

Domus, vestibulum, prothyi-um, 
atrium, atriolum, cavredium, implu- 
vium, compluvium, ala 2, tablinum, 
faux, peristylium, triclinium 2, cecus, 
coena^ulum, cubiculum, dormitorium, 
conclave, thalamus, exedra, pinaco- 
iheca, trichorum, dia.'ta I, hiberna- 
cula I, lararium, sacrarium 2, culina, 
latrina, solarium 3, mamianum I, 
pergula, hypogeum, cella 4, cellatio, 
fornix 3, crypta, ciyptoporticus, por- 
ticus, chalciclicum, chors, hemicy- 
clium, scalar 3, zotheca 2, pseudo- 
urbana, casa, casula I, tugurium, 
magalia, attegia, andronitis, andron, 
g\-na?ceum, mesaulos, aula 1, 2. 
Ceilings. — Ccelum, camara I, 2, con- 
cameratio, hemisphoerium 2, testu- 
do 2, lacunar 1, laquear, lacus 8. — 
Floorings. Pavimentum, lithostro- 
tum, tesseliatum , vermiculatum, 
scalpturatum, sectile, abaculus, favus, 
scutula 3, trigonum I, spica testacea, 
tessera, tessella, testaceum, opto- 
strotum, Alexandrinum opus, suspen- 
sura. — Doors. Janua, ostium, foris, 
biforis, quadriforis, valvar, super- 
cilium, limen, postis, antcpagmentum, 
corsse, replum, tympanum 8, impages, 
scapus 3, 4, cardo, ginglymus, ansa 
ostii, velum 4, hypaetrum, hyperthy- 
rum, pseudothymm, cochlea 3. — 
Locks and Fastenings. Claustrum, 
sera, clavis, clostellum, pessulus, 
repagula, obex.— IVindozvs. Fenestra, 
fenestella, luminar, clathri. — Interjial 
Fittings. Abacus 5, intestinum opus, 
pluteus 6, podium 1. — Lights and 
lighting. Fax, taeda, candela, cereus, 
funale, lampas, iucema, acus4, ellych- 
nium, candelabrum, scapus 5, super- 
ficies 2, lychnus, lychnuchus. — Fires 
and Fuel. Focus 1, camiuus 3, 4, 
fumarium, hypocausis, vaporarium, 
foculus 2, acapna, coctilia, cremium, 
vara 3, follis 4, 5, parma 3, mtabulum, 
batillum, trulla 4. — Oz-eus and Kilns. 
Furnus, fornax, fomacula, fortax. 



75° 



CLASSED INDEX. 



lacuna, prsefurnium, propnigeum. — 
The Garden, Hortus, viridariurn, 
gestatio, hippodromus i, xystus 2, 
pulvinus 4, specularia, casa 3, per- 
gula 6, trichila, topiarius, viridarius, 
hortulanus, olitor. 

Domestic Furniture and 
Utensils. 

Chairs. Cathedra, solium, thronus, 
ancon 4, bisellium, scimpodium. — 
Stools and Settles. Sella, sellaria, 
sedecula, tripus 2, 3, seliquastrum. 
— Forms and Benches. Subsellium, 
scamnum 3, sedile, anabathram, 
transtra, suggestum. — Foot-stools. 
Scabellum 2, scamnum 2, suppeda- 
neum. — Tables. Mensa, monopo- 
dium, cilibantum, cilliba, delphica, 
cartibulum, abacus 4, urnarium, 
anclabris, trapezophorum, vara 2, 
vibia. — Closets. Armarium, sedi- 
cula, muscarium, pegma 2, forulus, 
loculamentum. — Chests and Boxes. 
Theca, area I, capsa, capsella, capsula, 
scrinium, riscus, pyxis, arcula I, 
loculus, 4, alveus 1. — Beds and 
Couches. Lectus, sponda, pluteus 3, 4, 
anaclinterium, instita 3, fascia 6, cli- 
nopus, pulvinar 2, lectulus, grabatus, 
lectus tricliniaris, triclinium, bicli- 
nium, accubitum, sigma, stibadium, 
hexaclinon, culcita, torulus 2, pulvi- 
nar I, pulvinus I, cervical, cubital, 
follis 2, instragulum, toral, lodix, ac- 
cubitalia, aulaea 2, peri stroma, stra- 
gulum I, stroma, tapes, conopeum, 
gradus I, scamnum I, scabellum I. — 
Scales and Weights. Trutina, libra, 
statera, jugum 3, scapus 6, librile, 
punctum 3, examen, agina, ansa 4, 
lanx 3, lancula, asquipondium, pon- 
dus I, orbiculus 3. — Baskets. Cala- 
thus, qualus, quasillus, canistrum, ca- 
num, sporta, sportella, sportula, cista, 
corbis. cophinus, fiscina, fiscella, ns- 
cus, scirpea, scirpicula, nassa, vannus, 
vidulus, panarium. — Miscellaneous. 
Malluvia, matula, pelluvia, pelvis, 
ampulla, arundo 8, muscarium I, pe- 
niculus 2, scopae, scopula, cavea 2, 
crates, mulctra, hama, cos, cumera, 
alveare. — Dials and Time-Pieces. 



Horologium, horarium, solarium I, 2 S 
sciothericon, clepsydra, hemicyclium 
2, hemisphaerium, scaphium 2, dis- 
cus 3, arachne, lacunar 2, plinthium, 
pelecinon, conus 2, pharetra 2, gno- 
mon, linea 6. 

Inns and Public-Houses. 

Hospitium. stafc ilum, tabema 3, 
caupona, popma, thermopolium, ceno- 
polium, ganea, lupanar, deversorium, 
mansiones, mutationes. 

The Water Service. 

Aqueducts. Aquaeductus, castel- 
lum 3, 4, 5, dividiculum, piscina li- 
maria, colluviarium, specus, puteus 3. 
forma 6, circitores I, libratores I, me- 
titores, fistula I, plumbum 1, epi- 
stomium, assis 2, calix 3. — Pmnps and 

Water-wheels. Antlia, girgillus, tol- 
leno, cochlea 3, rota aquaria, haus- 
trum, modiolus 2, pinna 3. tympa- 
num 6, Ctesibica machina, sipho 3, 
embolus, fundulus, modiolus 4. — 

Wells, Cisterns, and Fountains. Pu- 
leus I, puteal I, immissarium, euri- 
pus, lacus 2, saliens. — Water-courses. 
Emissarium, cataracta 2, aquagium, 
canalis I, 2, collicias 2, imbrex su- 
pinus. — Seiners. Cloaca, cloacula, 
cloacarium. 

Roads and Streets. 

Via, compitum, bivium, trivium, 
quadrivium, semita, platea, trames, 
angiportus, fundula, vicus, pagus, ag- 
ger vice, crepido, umbo 3, gomphus, 
area I, milliarium. 

Riding, Driving, and Transport. 

77/i? Horse. Equus, capronae 2, 
cirrus 3, 4, admissarius, canterius 1, 
desultorius, celes, asturco, veredus, 
venator 3. sellaris, agminalis, dossua- 
rius, clitellarius, sagmarius, sarcinalis, 
tintimiabulatus, character. — The 
Rider. Eques I, desultor, infrenatus, 
calcar. — Saddles and Irappings. 
Ephippium, sella equestris, scalse 4, 
stapes, sella bajulatoria, cingula, anti- 
lena, postilena, sagma,clitellae, cento 2, 
sagum2, scordiscum, stragulum, tapes. 



CLASSED INDEX. 



tegumentum, dorsualia. — Bits, Bridle, 
Reins, and Harness. Oreae, lupatum, 
murex 2, postomis, frenum, habena r, 

2, retinaculum 3, capistrum I, jugum 

1, cohum, statera 3, copula 2, torquis 

3, funalis equus, jugalis equus, solea 
spartea, solea fevrea. — Ornaments. 
Frontale 1, monile 3, balteus 4, pha- 
leroe, phaleratus. — The Stable. Equi- 
le, patena, loculus 3. — Grooms and 
Drivers. Agaso, equiso, agitator, au- 
riga, mulio. — Carriages. Birotus, 
currus, biga, quadriga, decemjugis, 
cisium, esseda, carpentum, pilentum, 
tensa, arcera, benna, carruca, petori- 
tum, rheda, harmamaxa, covinus, 
chiramaxium. — ■ Carts. Plaustrum, 
vehela, plostellum, sarracum, arcuma, 
carrus, epirrhedium, plaustrum majus, 
clabulare, chamulcus, vehes, vehicu- 
lum. — Component Parts. Capsus, 
ploxemum, axis I, arbusculse, temo, 
furca 4, amites I, rota, tympanum 3, 
canthus, modiolus I, radius 3, suffla- 
men. — Palanquins and Sedans. Lec- 
tica, plagula 2, sella gestatoria, octo- 
phoron, lecticarii, asser 1, struppus 2, 
succollatus, basterna. — Whips and 
Goads. Scutica, flagellum 2, verber, 
virga 1, ferula, stimulus, agolum. 

The Race-course and Races. 

Circus, oppidum, career 2, linea 
alba, calx, meta I, intermetium, spina, 
delphinorum, columnar, ovum, auriga 

2, prasinus, prasiniani, russatus, alba- 
tus, fascia 4, curriculum, biga, quad- 
riga, quadrigarius, mappa 2, bra- 
beum, palma 3, desultor, celes, celeti- 
zontes, tensa, porta pompae, pulvinar 

3, fala 2, hippodromus 2. 

The Baths. 

Balneae, balneum, apodyterium, 
baptisterium, natatio, piscina 2, tepi- 
darium, frigidarium, caldarium, suda- 
tio, alveus 6, solium 6, lavacrum, 
laconicum, clipeus 5, labium I, scho- 
la 2, cella 5, hypocausis, suspensura, 
praefurnium, propnigeum, ahenum, 
miliarium, elaeothesium, unctorium, 
lavatio, strigilis, ampulla olearia, gut- 
tus, aliptes 2, ass thermarum, sella 



balnearis, fornacarius, capsarius 2, 
balneator, balneatrix, thermae. 

The Gymnasium and Palestra. 

Gymnasium, ephebeum, coniste- 
rium, corycaeum, sphaeristerium, xys- 
tus, athletae, quinquertium, discobolus, 
discus I, pugil, caestus, lucta, luctator 
scamma, pancratium, pancratias, cir- 
rus 2, coliphium, ceroma, haphe, hal- 
teres, endromis 1, gymnasiarchus, 

I palaestrita, palaestricus, palaestra, sta- 

; dium, stadiodromus. 

The Amphitheatre. 

The Building and its Component 
Parts. Amphitheatrum, arena, ca- 
vea 3, podium 2, maenianum 2, prae- 
cinctio, balteus 8, vomitoria, cuneus 
3, gradus 3, linea 7, porticus 2. — 
Gladiators. Gladiatores, lanista, re- 
tiarius, fuscina 2, jaculum 3, laquea- 
tores, secutores, mirmillones, samnites, 
thrax, parmularius, parma threicida, 
hoplomachus, eques 10, cruppellarius, 
bestiarius, arenarius I, provocatores, 
catervarii, ordinarii 2, dimachseri, me- 
ridionarii, postulaticii, suppostitii, an- 
dabatae, pegmares, rudiarius, rudis 2, 
! gladiatorium, munerarius, spoliarium, 
venatio 2, velarium, malus 2, spar- 
siones. 

The Theatre. 

The Building, and Spectators'' Seats. 
— Theatrum, maenianum 2, cuneus 3, 
gradus 3, praecinctio, vomitoria, or- 
chestra, thymele, tribunal, tessera 
theatralis, designator 1, locarius. — 
The Stage and Scenes. Scena, aula 
regia, aulaea 3, siparium, pulpitum, 
proscenium, postscenium, pegma I, 
exostra. — The Chorus. Chorus 2, 
choraules, choragus, choragium. — 
Actors, Mimics, Dancer s,and Dancing. 
\ Histrio, hypocrita, cothurnatus, ex- 
caiceatus, mimus, pantomimus, chi- 
ronomos, chironomia, persona, per- 
] sonatus, superficies 1, manduchus, 
planipes, sannio, ludius, ludia, embo- 
j liaria, saltatio, pyrrhicha, chorea, 
j cordax, sicinnium, sicinnista, saltator, 
! saltatrix, cinaedus, catadromus, or- 
j chestopolarius. 



752 



CLASSED INDEX. 



Music. 

Stringed Instruments. — Fides, ci- 
thara, testudo I, chelys,. lyra, cornu i 
7, stamen 3, plectrum, pecten 6, pul- 
sabulum, barbitos, psalterium, trigo- 
num 2, harpa, sambuca, tetrachordon, 
nablia, pandura. — Wind Instruments. 
Bucina, concha 2, tuba, lituus I, cor- 
nu 6, tibia, ligula 1, monaulos. fistula, 
calamus, arundo, syrinx, hydraulus. 
— Instruments which are clashed or 
beaten. Cymbalum, crotalum, crus- 
mata, scabellum 3, crepitaculum, sis- 
trum, tintinnabulum, tympanum I, 2, 
symphonia. — Musicians. Fidicen, 
fidicina, citharista, citharistria, psilo- 
citharista, citharoeda, lyristes, psaltria, j 
sambucina, bucinator, cornicen, liti- i 
cen, tubicen, siticen, aeneator, classici | 
2, tibicen, capistrum 5, tibicina, fistu- i 
lator, cicuticen, spondaules, ascaules, | 
utricularius, cymbalista, cymbalistiia, 
crotalistria, sistratus, tympanista, tym- ! 
panistria, tympanotriba, choraules, : 
pithaula, corocitharista, mesochorus, ' 
praecentor, phonascus, symphoniaci, i 
aulcedus, ambubaiae, sabulo, cano, j 
odeum. 

Games and Sports. 

Of Chance. Talus, tessera, fritillus, 
turricula, abacus 2, alveus lusorius, I 
tabula 2, 3, mandra, latro 2, calculus, 
jactus, canis, venus, basilicus, vultu- 1 
rius, seniones, punctum, astragali- j 
zontes, tabula 4, micatio, navia aut j 
capita, cottabus. — Of Ball. Follis j 
I, harpastum, paganica, pila, trigon, | 
pilicrepus, datatim ludere, dator, | 
factor, sphaeromachia. — Feats of 
Strength or Dexterity. Cernuus, cir- 
culator, pilarius, funambulus, neuro- 
bata, grallae, grallator, desultor, prae- j 
stigiator, acetabulum 2, mansuetarius, 
oscillatio, uter unctus, contomonobo- 
lon, monobolon, petaurum, petauris- 
ta. — Hunting. Venatio 1, venator, 
venatrix, copula 1, lorum 2, millus, I 
melium, pedica dentata, venabulum, 
pedum, plaga, rete, cassis, epidromus, 
vara I. Fowling. Auceps, amites3, 
arundo 4, cavea 2, illix, formido, in- 
dago, pedica, transenna. — Fishing. 



Hamiota, arundo 3, linea 1, hamus, 
piscator, funda, jaculum, everriculum, 
sagena, limbus 4, nassa, cortex. 

Marriage. 
Matrimonium, nuptiae, confarreatio, 
coemptio, sponsa, nupta, pronuba, 
flammeum, mustaceum, cumerum, 
epithalamium, lectus genialis, lectus 
adversus, concubina, pellex. 

Funeral Rites and Burial. 
Exsequiae, funus, decursio, conse- 
cratio, apotheosis, sepultura, humatio, 
tumulatus, capulus 3, feretrum I, area 
3, sandapila, pyra, rogus, ara sepulcri, 
bustum, ustrinum, area 3, forum I, 
silicenrium, libitinarius, pollinctor, 
designator 2, praeficae, vespillones, 
ustor, bustuarii. — Sepulchres. Tu- 
mulus, sepulcrum, monumentum 2, 
mausoleum, conditorium 1, hypo- 
geum, heroum, subgrundarium, pyra- 
mis, polyandrion, cepotaphium, ceno- 
taphium, puticuli, cippus 2, stele, 
mensa 14, cinerarium, ollarium, co- 
lumbaria 3, olla ossuaria, urna ossu- 
aria, ossuarium, area 2, 3, arcula 2, 
loculus I, conditorium 2, sarcophagus, 
solium 5. 

The Prison, and Instruments of 
Punishment. 
Career, carnificina, robur, ergastu- 
lum, lautumia, carnifex, ergastularius, 
catena, catenatus, alligatus, compedi- 
tus, catulus, collare I, boiae, manica 5, 
stigma, literatus 2, cruciarius, cruci- 
fixus, patibulatus, crux, equuleus, 
furca 5, 6, columbar, patibulum, ner- 
vus 4, numella, cratis 3, catasta 3, 
laqueus, lorum 6, lorarius, flagellum, 
flagrum, plumbum 3, fasces, securis 3, 
uncus I, fustuarium. 

Trades and Industrial Occu- 
pations. 
Taberna, officina, fabrica, taberna- 
rius, institor, sellularii, cerdo, faber, 
fdbrilia. — Carpentry and Tools for 
%vor king in Wood. Materiarius, intes- 
tinarius, intestinum opus, vara 2, 
martiolus, malleus I, scalprum I, cla- 
vus, serra, serrula, prista, serrarius, 



CLASSED INDEX. 



753 



ascia I, ascio i, dolatus, edolatus, 
scobina, runcina, terebra I, perforacu- 
lum, furfuraculum, norma, ancon I, re- 
gula, linea3, libella, circinus. — Black- I 
smiths. Ferrarius, caminus 2, incus, ! 
malleus 3, marcus, marculus, lima, 
forceps I, rutabulum, lacus 6, follis 
fabrilis. — Stone-masons and Builders. 
Lapicida. lapidarius, acisculus, ascia 
2, 3, securis 5, perpendiculum, norma, 
regula, linea 3, libella, amussis, scal- 
prum I, circinus, fistuca, pavicula, 
albarium opus, albarius, trullissatio, 
dealbatus, trull'a 5, fidelia. — Pottery 
and Brickmaking. Fictile, figulus, 
rota figularis, fornax 1, lateraria, later, 
laterculus, tegula, imbrex. — Shoe- 
makers and Leather-workers. Sutor, 
calceolarius, caligarius, crepidarius, 
solearius, diabathrarius, foi-ma 5, ten- 
tipellium, subula, scalprum 2, fistula 
5, coriarius, ampullarius. — Provision 
Dealers. Porcinarius, lanius, malleus 
2, culter I, 2, mensa 9, 10, carnarium, 
furca 2, macellarius, macellum, cupe- 
dinarius, setarii, cybiarius, cybiosac- 
tes, salinator, salsamentarius, salsa- 
mentum, salgama, salgamarius, botu- 
larius. — Bakers and Bread-making. 
Coquus, pistor, furnarius, mola manu- 
aria, mola asinaria, mola aquaria, mo- 
lile, pistrinum, furnus, clibanus, ar- 
topta, fistula farraria, cribrum, incerni- 
culum, panis, artopticius, clibanicius, 
furnaceus, testuaceum, autopyros, 
mamphula, bucellatum. — Pastrycooks 
and Confectioners. Dulciarius, lactu- 
carius, crustularius, scriblitarius. 

Manufacture of Oil and Wine. 

Vindemia, linter 2, trapetum, cupa 
2, miliarium 2, mortarium, orbis 2, 3, 
factorium, tudicula, torcular, prelum, 
torcularium, vinarium, calcatorium, 
cortinale, lacus 3, 4, lacusculus, fis- 
cina, regula 2, saccus vinarius, cal- 
cator, vectiarius, capulator, labrum 3, 
colum 1, apotheca 2, cella 1, 2, 3, 
horreum 2, culeus, lura, uter, cupa, 
gemellar, dolium, calpar, amphora, 
diota, cadus, lagena, seria, pittacium, 
circumcidaneus, pes vinaceorum, mus- 
tum, defrutum, carenum. 



Spinning, Weaving, Fulling, and 
Dealers in Cloth. 
Spinning. Neo, colus, fusus, verti- 
! cillus, hamus 2, stamen, calathus, 
! qualus, glomus. — Weaving. Lanifica, 
lanipendia, quasillariae, linteo, textor, 
textrix, tela, jugum 4, insile, insu- 
bulum, scapus 8, stamen 2, subtemen, 
trama, pondus 2, arundo 7, licium, 
I liciamentum, liciatorium, alveolus, ra- 
dius 5, spatha I, pecten 2, 3, panucel- 
lium, lanipendium, textrinum, pen- 
sum. — Fulling. Fullonica, fullo, ful- 
lonius, cavea 5, pressorium. — Cloth- 
workers and Clothiers. Centonarii, 
lintearius, sarcinator, sarcinatrix, sar- 
tor, sartrix, paenularius, bracarius, 
manulearius, limbularius, patagiarius, 
plumarius, phrygio. — Different Fa- 
brics. Sindon, gausapa, laena, molo- 
china, cilicium, amphimallum, amphi- 
tapus, lodix, bilix, trilix, multicius, 
polymitus, coactilis. 

Books and Writing Materials. 

Bibliopola, libellio, volumen, frons, 
scapus 7, umbilicus I, cornu 10, index 
I, membranula, liber, libellus, pagina, 
philyra, scheda, plagula 4, manuale, 
membrana 2, glutinator, librarii, ama- 
nuensis, anagnostes, bibliotheca, ar- 
marium 2, loculamentum, forulus, 
capsa, scrinium, librarium. — Memo- 
randum Books y 6°<r. Adversaria, co- 
dex 2, codicillus, ephemeris, fasti, 
calendarium. — Paper and Writing 
Materials. Charta, macrocolum, mem- 
brana I, opisthographus, palimpsestus, 
atramentarium, calamarius, arundo 5, 
fistula 3, calamus 5, fissipes, penna 2, 
plumbum 4, scalprum 4. — Tablets. 
Cera 2, diptycha, polyptycha, pugil- 
lares, tabella I, tabula 5, stilus 1, 
graphium, epistola. 

Medicine and Surgery. 
Medicus, clinicus, aliptes, iatra- 
liptes, mulomedicus, veterinarius, ocu- 
larius, tractator, tractatrix, medica- 
mentarii, seplasiarius. — Surgical Im- 
plements, <5rv. Auriscalpium, catheter, 
cauter 1, clyster, forceps 2, 3, 4, vol- 
sella 2, 3, 4, terebra 4, modiolus 3, 
dentarpaga, dentiducum, corvus 2, 
3 » 



754 



CLASSED INDEX. 



cotula, cucullus I, pastillus, collyrium, , 
turunda 3, pittacium 2, splenium. 

The Coinage. 
Roman. As, semissis, quincunx, j 
triens, quadrans, sextans, uncia, de- ! 
cussis, deunx, dextans, dodrans, bes, | 
septunx, denarius, quinarius, sester- I 
tius, libella 2, sembella, teruncius, 
bigatus, quadrigatus, victoriatus : au- 
reus, denarius 2, scripulun/ — Greek. 
Drachma, didrachma, tetradrachma, 
triobolus, obolus, semiobolus, di- 
chalcon. —Foreign. Cistophorus 2, I 
Darius. — Bankers, &>c. Argentarius, ! 
mensularii, mensa 11, 12, moneta, j 
forma 2. — Purses and Bags. Cru- 
mena, funda 3, marsupium, sacculus, j 
saccus I, 2, bulga, pera, ascopera, 
hippopera, averta, bisaccium, mantica, 
follis 3, melina, pasceolus, reticulum 1. 

Agriculture. 
The Plough. Aratrum, bura, stiva, 
manicula, vomer, dens 4, dentale, cul- 
ter 7, aures, arator. — Reaping. Falx | 
stramentaria, falx denticulata, pecten ! 
5, merga, vallus 3. — Threshing and 
Winnowing. Pertica, tritura, tri- 



buh 



traha, plostellum Punicum. 



pal a lignea, vannus, ventilabrum, ca- 
pisterium. — Agricultural Implements. 
Pala, bipalium, vanga, rutrum, rallum, 
ciconia, ligo, sarculum, ascia 4, 
bidens, marra, raster, runco, ca- 
preolus, irpex, rastellus, pecten 4, 
lurca I, cylindrus, falx, falcastrum, 
dolabella, dolabra, securis 5, pastinum. 
— Agrictdtural Labourers. Arator, 
messor, fceniseca, fossor, occator, 
runcator, sarritor, pastinator, jugarius, 
bubulcus, bubsequa, opilio, pedum, 
caprarius, caprimulgus, mulctra, ar- 
mentarius, saltuarius, villicus, pastor, 
porcarius, porculator, suarius, asina- 
rius, aviarius, fartor, ei-gastularius, 
bajulus, phalangarii, tetraphori, furca 
5, jugum 2, vectis 4, phalanga 1. 

Domestic Slaves. 
Ordinarii, vulgares, mediastini, vi- 
carius, insularii, janitor, ostiarius, 
janitrix, silentiarius, atriensis, cubi- 
cularius, scoparius, coquus, focarius, 



arcarii 2, dispensator, promus, cella- 
rius, praegustator, lectisterniator, 
structor, carptor, scissor, pincema, 
pocillatoi", cenophorus, nomenclator, 
anteambulo, pedisequi, paedagogus, 
paedagogiani, capsarius, salutigeruii, 
lecticarii, laternarius, basternarius, 
numida, cistellatrix, vestisplica, ves- 
tispica, cosmeta, cosmetria, ornatrix, 
cinerarius, flabellifer, sandaligerulae, 
coprea, fatui, moriones, nani, catasta, 
mango. 

Religion. 
Places of Worship. Templum, 
sacellum, fanum, delubrum, adytum, 
cella 7, aedicula 1, ala 3, pronaus, 
opisthodomus, sacrarium, donarium, 
lararium, pulvinarium, favissae, argei, 
bidental, puteal 1.— Devotional Acts 
and Cere?nonies. Precatio, supplicatio, 
adoratio, adulatio, aspersio, extispi- 
cium, ignispicium, lectisternium, sel- 
listernium, suovetaurilia, lustrum, 
tripudium. — Implements of Worship 
and Sacrifice. Ara, altare, foculus I, 
acerra, turibulum, focus turicremis, 
catinum 3, hostia, victima, immolatus- 
anclabris, mensa sacra, pulvinar 2, 
libum, popanum, cibta 5, labrum 4, 
cavea 3, malleus 2, dolabra pontifi- 
calis, securis dolabrata, sacena, se- 
cespita, clunabulum 2, capedo, capis, 
guttus, patera, simpulum, simpuvium,' 
lituus, infula, infulatus, taenia I, vitta 
2, 3, serta, tripus 3, cortina 2, thyrsus, 
thyrsiger, sistrum. — Priests. Sacer- 
dos, pontifex, augur, flamen, flaminica, 
extispex, haruspex, haruspica, ves- 
tales, salii, augustales, epulones, curio, 
liniger, sistratus. — Ministers and At- 
tendants. Camillus, popa, cultrarius, 
victimarii, canephora, cistophoras, 
spondaules, pullarius, aedituus, neo- 
corus, mystica, prsecia, calator.— ■ 
Spiritual and Imaginary Beings. Aga- 
thodamion, genius, daemon, junones, 
lares, larvae, lemures, penates, manes, 
umbrae, sceletus, lamise, versipellis. 

The Army. 
Troops. Hastati, principes, ante- 
pilani, pilani, triarii, antesignani, 
postsignani, legionarii, gregarii, ve- 



CLASSED 

lites, ferentarii, rorarii, accensi, velati, 
funditores, sagittarii, arquites, jacula- 
tores, tragularii, contarii, cunicularii, 
emeriti, evocati, optiones, alarii, prae- 
toriani, scutarii, conterbunales, circi- 
tores 2, coactores 2, conquisitores, 
metatores, mensoi"es 2, excubitores, 
vigiles, speculatores, impeditus, expe- 
ditus, muli Mariani, accinctus, dis- 
cinctus 3, murcus, stigma 2, tessera 
militaris, tesserarius, celeres, equites, 
hippotoxotae, cataphracti, clibanarii, 
dimachae, agm'nalis. — Officers. Pras- \ 
tor 2, legati, tribuni militares, prae- 
fecti, centurio, subcenturio, primi- 
pilus, primipilaris, decanus, corni- 
cularius, deeurio I, campidoctor. — 
Servants and Camp-followers. Strator, 
calories, clavator, apparitores 2, lixae. 
— The Corps d' ) Armee. Legio, cohors, 
turma, ala 4, 5, manipulus 3, vexil- 
latio, forfex 3, cuneus 5. — Military 
Rewards, Badges, 6°<r. Corona, lem- 
niscus, phalerae, phaleratus, torquis, 
torquatus, corniculum, vitis I, dona- 
tivum, diarium, allocutio, campicursio, 
decursio, tropaeum, triumphus.— 
Standards and Ensigns. Signum 5, 
signifer, aquila I, aquilifer, manipulus 
2, draco, draconarius, imaginarii, vex- 
illum, vexillarii, flammula, labarum, 
supparum 2. — The Ca??zp and Tents. 
Castra, agger I, 2, porticus 3, vallum, 
vallus, principia, praetorium, taber- 
naculum, tentorium,' papilio, contu- 
bernium, hibernacula, hiberna. — 
Fortification. Arx, castellum 1, 2, 
murus, turris, loricula, pinna 2, porta, 
fenestra 3, fornix 4, cataracta 3, eri- 
cius, carrago, concaedes, cervi, specula, 
excubitorium. — Machines and En- 
gines of War. Tonnentum I, ballista, 
arcuballista, manuballista, scorpio, 
carroballista, catapulta, catapultarius, 
capitulum 7, chele, epitoxis, modi- 
olus 3, manulea 3, mensa 15, onager, 
fundibalus, aries, lupus ferreus, asser 
2, 3, falx muralis, harpago, manus 
ferrea, corax, corvus, testudo, 3, 4, 
vinea, musculus 1, fala 1, helepolis, 
pluteus 1, 2, pons 7, sambuca 2. — 
Defensive Armour. Cassis, galea, 
apex 2, conus 1, crista, buccula, 



INDEX. 755 

projectura, cudo, galerus 1, thorax I, 
lorica, pectorale, cingidum 4, zona 3, 
cataphracta, aegis, brachiale, manica 

2, 3, caestus, ocrea. ocreatus, fascia 4. 
— Shields. Clipeus, clipeatus, scu- 
tum, scutatus, parma, parmatus, pelta, 
peltasta, peltata, cetra, ancile, umbo 
1. — Spears and Missiles. ITasta, 
curis, cuspis, spiculum, hastile, veru 2, 
veruculum, verutum, lancea, contus 3, 
sarissa, sicilis, venabulum, mora I, 
sibina, framea, materis, rhomphaea, 
pilum 2, runa, sparum, rumex, ja- 
culum 1, soliferreum, amentum, no- 
dus 5, amento, mesanculon, ansatus, 
aclis, cateja, trifax, falarica, malleolus, 
tragula I, gaesum, praepilatus. — 
Bows, Slings, &>c. Arcus I, 2, 3, 
arundo I, cornu 8, sagitta, arundo 2, 
corytus, pharetra, pharetratus, funda I, 
cestrosphendone, fustibalus, glans, 
plumbum 2, tribulus, murex ferreus. 
— Swords. Ensis, gladius, capulus, 
mora 2, mucro, vagina, balteus I, 
cinctorium, spatha, semispatha, ligula 

3, parazonium, harpe, falx 6, copis, 
machsera, cluden. — Knives. Culter, 
cultellus, sica, machaerium, scalprum, 
novacula. — Daggers. Pugio, pu- 
giunculus, clunabulum 1, acinaces. 
— Other Weapons. Clava 3, 4, cla- 
viger 1, phalanga4, fuscina, bipennis, 
securis. 

The Marine. 

Ships and Boats. Navigium, navi- 
giolura, navis oneraria, longa, turrita, 
aperta, tecta, actuarius, actuariolum, 
epicopus, moneris, biremis, dicrotus, 
triremis, quadriremis, quinqueremis, 
hexeris,hepteris, decemremis, liburna, 
celes 2, celox, cercurus, hemiolia, 
acatium, camara 3, musculus 2, 
myoparo, corbita, cybcea, gaulus 2, 
scapha, cymba, lembus, caupulus, 
carabus, linter, moiloxylus, alveus 2, 
barca, ponto, ratis, faselus, baris, 
thalamegus, caudicarius, caudicius, 
biprorus, catascopium, dromo, pro- 
sumia, rataria, stlata, hippagines. — 
Parts and Ornaments of Vessels. 
Carina, sentina, alveus, 3, cavernae, 
constratum navis, stega, fori 1, prora, 



7S« 



CLASSED INDEX. 



puppis, diseta 2, rostrum 1, pro- 
pugnaculum, turris 4, aplustre, che- 
miscus, insigne 2, tutela, parada, cu- 
neus 2. — The Rigging. M-lus 1, 
modius 2, carchesium 2, 3, antenna, 
cornu 9, anquina, ceruchi, chala- 
torius funis, opiferae, pes veli, propes, 
rudens, velum, dolon 3, epidromus 
2, supparum I, artemon, acatium 
2. — Shifts Gea?'. Ancora, dens I, 
ancorale, ora, retinaculum, remulcum, 
mitra3, tormentum3,- catapirates, con- 
tus 2, tonsilla, scalae 2, pons 5, guber- 
naculum, ansa 5, clavus 6, pinna 1. 
— Oarage and Roivers. Remus, tonsa, 
palma i,palmula, folliculare, scalmus, 
struppus, interscalmium, columbaria 
4, remigium, remex, ordo, transtrum2, 
sedile, jugum 7, liortator, pausarius, 
portisculus, celeusma, agea, contus 1. 
— Officers and Crew. Navarchus, 
magister 2, gubernator, proreta, pro- 
reus, classiarii, epibatae, emporos, 
nauclerus, navicularius, urinator. — 
The Port, &°<r. Portus, emporium, 
naumachia, navale, casteria, pharos. 

The Fine Arts. 

Painting. Pictor, ldiyparographus, 
monocromata, ichnographia, ortho- 
graphia, incisura, catagrapha, pictura, 
tabula 6, tabella 2, topia, xenia, en- 
caustica, canteriolus, arcula I, peni- 
cillum, peniculus. — Mosaic. Musi- 
varius, musivum, vermiculatus, tessel- 
iatus, sectilis, emblema I, tessella, 
abaculus. — Sculpture, &c. Scalptor, 
sculptor, fictor, figulus, plastes, gypso- 
plastes, cestrum, scalprum I, tornus, 
forma I, proplasma, thorax 2, signum I, 
statua, sigillum, sigillatus, crustae, em- 
blema 2, encarpa, anaglypta, ectypus, 
prostypum, protypum, diatreta, to- 
reuma, murrhina, vitrea, seruca, 
serugo, eborarius, crustarius, ocularius. 
■^—Architecture. Saxum quadratum, 



silex, crementum, csementicius, dia- 
micton, emplecton, fartura, ortho- 
stata, isodomum, pseudisodomum, 
paries, structura, maceria. — ' Tim- 
ber-work and Roof. Materiatio, ma- 
teriatus, trabs, tignum, intertignium, 
columbarium 5, opa, columen, capre- 
c^lus, canterii, columna 7, templa 5, 
asseres, transtrum I, scandula, tegula, 
imbrex, imbricatus, pavonaceum, 
colliciae. — The Pedimejtt. Fastigium, 
aquila 2, tympanum 7, acroteria, 
corona 15, denticulus, mutulus, zo- 
phorus, triglyphus, canaliculus 2, 
femur, guttae, metopa, taenia 6, epi- 
stylium. — TJie Column. Columna, 
scapus 1, hypotrachelium, stria, co- 
luria, capitulum, abacus 6, echinus 2, 
astragalus 2, voluta, canalis 5, balteus 
7, pulvinus 2, helix, cauliculi, anulus 6, 
spira, torus 3, scotia, plinthus, quadra 
2, caryatides, atlantes, telamones, pa- 
rastas. — Mouldings, Ornaments, and 
Basement. Astragalus, cymatium, 
sima, antefrxa, clipeus 4, persona 5, 
crepido4, maeander, encarpa, pteroma, 
pluteus 5, podium 3, stylobata, anteri- 
des, substructio. — Classes of Columnar 
Edifices, Arrangement of Columns, and 
Varieties of Intercolunmiation. Hypae- 
thros, antae, prostylos, amphiprostylos, 
peripteros, pseudoperipteros, dipteros, 
pseudodipteros, monopteros, pronaus, 
tetrastylos, hexastylos, octastylos, de- 
castylos, arasostylos, diastylos, eu- 
stylos, systylos, pycnostylos. 

Public Places and Buildings. 
Forum, basilica, capitolium, tabu= 
larium, graecostasis, curia, diribi- 
torium, aerarium, emporium, horreum 
publicum, septizonium, nymphaeum, 
brephotropheum, orphanotrophium, 
theatrum, odeum, amphitheatrum, 
circus, hippodromus, gymnasium, pa- 
laestra, stadium, balinese, thermge, 
porticus, portus. 



Printed by Ballantyne, Hanson &■ Co. 
Edinburgh &• London 



